#put him into MOST OF THE EPISODES in an IMPORTANT PLOT-RELEVANT ROLE

[marypsue]

I only watched the first four episodes of season four and have only the vaguest notion of what happens in the rest of it. And I've been told that I misread what was going on and that that's not where the plot was going. But.

I cannot get over the wasted potential of not having Vecna's Curse target, specifically, people who feel guilt over being responsible for another person's death. (Even though they're not, actually, responsible.)

Like. Apparently what was going on with Chrissy was an eating disorder. I misread the coding on that hard in the early episodes, and thought that she'd recently been to Chicago to see Jane. And if she had...apparently Jason was also super religious? If Chrissy had had an abortion, because they'd been having sex, then that makes a whole thematic reinforcement to his hypocrisy and whatever half-baked point the show sort of made gestures at making about the Satanic Panic.

Then there's Fred and his friend. Whatsisface in Pennhurst, the older Creel, and the baby in the house he ordered the bombing on. Max and Billy. Nancy and Barb. (Hell, Steve and Barb if you really want to play to your audience.) You could even use that to tie in the adults' storyline - we haven't heard about Hopper's guilt over Sara in a minute!

And all of that would dovetail nicely into motive. Because apparently "Vecna" is, in fact, Henry Creel, is in fact Experiment 001? Who [something something something] psychic powers [something something] horrific child abuse [something something something] massacre at the Hawkins lab [something something] Always Chaotic Axe-Crazy?

But it would make so much sense for a child who'd been ripped from his family, survived awful mistreatment in the name of the greater good, and been witness to the deaths of other kids just like him due to the actions of people who didn't seem to care, who didn't seem to see it as their fault, to be lashing out at anybody he perceived to be like those people.

It would have made sense. It would have been a reason. It would have drawn a throughline from the Big Bad's motivation through to Our Heroes and their actions. It would have given them so much room to work with consequences of the earlier seasons coming back to bite Our Heroes, and could have gone in some really good directions about exploring survivor's guilt and whether these characters really were responsible for any of the deaths they take as their responsibility. And also about institutional hurt and how sometimes, people who have no other option and no way to reach the people who actually hurt them will just aim their pain at anyone in reach, anyone who looks enough like the person who hurt them if you squint and hold your tongue just right, and how, to make actual change against the systems that hurt people, we all need to keep in mind who the real enemy is. It could have been so good.

[bluebunnyears-08]

Why Nine is The Secondary Protagonist in Sonic Prime

I recently made an appreciation post about this edgy little fella, however, when I rewatch the show (yes I rewatch it several times daily, so what?) I feel the cogs in my brain turn and create several theories. Looking back at Nine, I realized he will be one of the BIG characters, not the big (relevant to the plot and development), but the BIG (really fucking important).

As in MIGHT BE THE DEUTERAGONIST type of BIG.

Sonic is the protagonist, as he usually is in his games, however, Nine is another huge character who is not only crucial to the plot but might also twist the plot as well.

A deuteragonist is an essential secondary character in a narrative, second only to the protagonist, and may act like a constant companion or someone who aids the protagonist. However, the deuteragonist can change from helping the protag to actively opposing them, depending on their own conflict or plot.

Nine already proves to be a huge character in Sonic Prime, however, in the first batch of episodes, Shadow does somewhat take up some of this role. However, he might change to become a tritagonist in future episodes. Someone who helps the protagonist, is the third most important character, and often the third member of the group.

So Nine might be the TRUE deuteragonist and I DO have a list of reasons why I think so.

So, with that said, let's begin.

1. He is already established to be an important character

From the first moment we meet him, we already know he's going to be a very important character in the plot. He fixes up Sonic's shoes and gloves figures out how to use a shard to open a portal, and is a very formidable ally. He is an important character to keep the plot going and to help explain the plot. However, it's not like those Sonic games, where he's just there to explain the plot. He HAS a character and personality, he's not just a cardboard cutout.

He HAS depth and complexity to him. Something I can appreciate considering the past media of any version of Tails the past years (not including Frontiers, that game was amazing). He's also obviously going to continue to be an important character in season two as well.

2. He's a very engaging character

Let's all admit it: Nine is the most interesting character in Sonic Prime. Not just because of his mindset of "get this however you can no matter what" and "do whatever it takes and needs to survive". Not just that but his snarky and cold personality combined with his nine-tailed badassery just makes him an engaging and enjoyable character.

The things he does can leave people scrambling for answers. Why exactly did he change his mind about helping the rebels? What is he planning? What is going on in that fluffy head of his?

So many questions that leave us waiting with anticipation for the next batch of episodes for answers.

3. People can relate to his trauma

Nine's backstory is what we expected, but that doesn't mean it holds back punches. Without Sonic to defend him from bullies, without Sonic to care for him and take him in, he learned to trust and look out only for himself. It's a sad backstory and it explains why he's so guarded and aloof all the time.

I've read posts that state they relate deeply to Nine and can immerse themselves in his character with empathy. I can confirm as being a victim of abuse. He's aggressive and snarky because he has walls, walls that he put up to never get hurt again. He doesn't try to justify himself in his backstory, stating he "wasn't minding his surroundings" instead of "I didn't know" or "it wasn't my fault" he shows signs of a sort of self-resentment. Again, I can relate SO MUCH to, thinking that I could've prevented it and holding myself responsible for not doing anything, that I could've stopped it from happening.

Those who suffer or have suffered can see themselves in Nine, and as a result, the sorrow we feel for him can hit harder if we know what it was like.

4. We don't know where his character is going to end up

Another bunch of posts I've seen about Nine is that we legitimately don't know where his character is going to end up. He's muddled deep in his mystery and inner turmoil that we can't see the deep end of what he's going to be. A hero? A villain? An Anti-hero?

Just what's going to happen to him?!

He has a plan but what is it?

5. He's the most controversial character

Nine's intentions and character have been put in many perspectives on what people think he's planning, what he's going to be, why he does certain things, whether he cares for Sonic or not, whether he trusts Sonic or not, and MORE.

He's been theorized and twisted into what people think about him and what he's going to do. In my opinion, if a character does this to a community, you KNOW you're doing something right. Controversial characters are very mysterious and morally ambiguous, you don't truly know why they do the things they do or what they plan, but you have your own ideas on what might happen and other people do too, despite them possibly being different from yours.

Controversy (WHEN NOT LEADING TO VIOLENCE AND DEATH THREATS) is very fun and interesting. Reading people's thoughts even if they differ from your own, with the possibility that they might change your own theories is a very enlightening and interesting thing!

6. He has a completely opposite goal to Sonic

It's very clear that Sonic and Nine have different goals that clash with each other. Sonic, being the all-loving hero he is, wants to return home and see his true friends again, not to mention help and protect the other shatter spaces. Nine on the other hand wants to make a new home, a world with just him and Sonic and nobody else, not caring for the other shatter spaces or anybody else.

Their goals clash with each other and can't be fulfilled at the same time. Nine's goal includes only him and Sonic and no one else. Sonic's goal includes others, not to mention these two are from two completely different universes.

It's clear these two, no matter how close they are, won't give up their goal for the other, so unless their willing to compromise, it might lead to something bigger.

7. His goal separates him from other variations of himself and others

While he is just another variation of one of the main characters, his goal of achieving something beyond his own universe along with keeping Sonic differentiated from the other main variations who want something within their own shatter space. Thorn wanted to keep the jungle from being destroyed, and Dread wanted the shard out of greed, the rebels want to put the council out of power and take back their land, the jungle variants wanted to eat and live among the jungle again, and the pirates are just typical pirates.

Unlike the others, whose goals can be achieved in their universes, Nine wants nothing to do with his own. Like Sonic, Nine's goal is related to the shatter space.

8. Nine truly has no one EXCEPT Sonic

Another thing to differentiate him from the other versions of himself and the main cast is how Nine has nothing to lose. Other versions of him have a group of the main cast, hell even Rusty Rose finds herself valued (not sentimentally but still) and useful to the council. Nine, however, has nobody until this bright blue hedgehog told him about a life he could've had, a life Sonic gave to his other self.

So it's no wonder he took the very person who can give him the same life to a new shatter space. He wants that desperately. It's no wonder he doesn't show an interest in getting Sonic home anymore, if he does that, the chance of having the life he always wanted, that hope, would be gone forever. I don't think Nine's going to let that happen easily.

9. Everyone roots for him and wants him to be happy

There are zero people that don't want him to achieve his goal of love and happiness. Not just for the fact that he's a version of a character we're already emotionally invested in, but also because Nine is his own person. He's still a person who was horribly abused to the point of being jaded and cold.

Seeing him smile or show comfort really melts my heart cause this kid deserves SO MUCH! I know you all agree. But it is depressing to remember that Sonic NEEDS to go back and restore his world, he'll have to leave Nine behind. I don't think they're going to go with Sonic taking Nine with him because of what might happen with the whole "they can't see each other" stuff.

And with how stubborn and desperate Nine is...

I'm curious about how they figure this out and resolve this.

10. He might affect the plot

A protagonist is not just the lead character who pushes the plot along, they also affect and can possibly change the plot as well. Sonic already kicked off the plot, it's possible for Nine to affect it in a BIG way. This can lead to a LOT of possibilities when you consider that. We KNOW he has a plan and it has something to do with the Chaos Council capturing him. This fact can lead to a LOT of interpretations.

Well, that was my list of how Nine might be the deuteragonist of Sonic Prime in the future. Thanks for reading and I hope you have a lovely day <3

[autumnwhistles]

Introducing Last Life SMP: The Unofficial Musical

“There is an old, old tale to be told

Of green like the spruce, of crimson and gold.”

[Full song list and links under the cut]

NOTE: AUDITIONS ARE OPEN UNTIL NOV 20TH!!!! If you're interested, please check out the #auditions and #info tags for more information.

Those are the first lines sung (...kind of) in a musical adaption of the Last Life SMP I’ve decided to talk myself to write, for... some reason. Please note this is not an actual play and never will be (rights and crediting issues, for one thing, the CCs deserve to take credit for the storyline they’ve made), but I will record, put it together, and upload songs to Youtube in a playlist. Most of the plot is from Last Life itself, and is stated in the songs, so it should be easy enough to follow. There will also be the relevant plot in the description of each song.

My aim is to tell a coherent story through songs (which, because I can’t hold myself back, I’ve planned 45 of...), meaning that I can’t just jump perspectives continuously and chronicle events. This means that some of the CC’s characters are going to have a bigger role than others, though I do want to honour everyone involved, so I’d appreciate any ideas on doing this (especially for Tango and Skizz). However, so far:

It mainly follows Martyn (especially due to his lore, he had the easiest storyline to adapt into a narrative setting, and to me at least was the main character of that season), partially following Scott as the winner as well. They do foil each other quite well this season, which is a bonus – though I am going to be stretching this for the sake of Cohesion^TM.

Important events and important exposition are given to us by the Chorus, keeping the storyline in tact while shifting focuses (Joel going Red, for example). The Chorus are actually Watchers observing the events, which is hinted in the opening song (they sing a lot of references to Martyn’s Last Life teaser, for instance).

This means that Watchers and Listeners are technically canon (especially since we’re following Martyn’s lore), but the names aren’t going to be stated so things can be interpreted differently for people who don’t keep track of/aren’t fans of that. 

Memories of 3rd Life are also canon, as they are in the series.

This follows the headcanon (and out-of-universe truth) that 3rd Life took place in Spring and Last Life in Autumn, so if there are references to that in songs (which they are), that’s why.

Also, though I’ve tried to keep everything as faithful to the events of Last Life as possible (except one confrontation/song that doesn’t happen, to resolve various things), but I do tweak some minor chronological aspects (eg when alliances were established) and omit some things  again for cohesion, and also to help establish information early on.

Progress-wise first song is nearly finished, though I do still need to record it. I have pretty concrete ideas for others, and some I don’t really know yet, but hopefully they’ll be coming out at a steady, if slow, pace. I am somewhat a novice at music production (as in recording and putting tracks together) though, so help with that would be appreciated.

*if you’re not convinced, watch the start of his session 8 until 1:57, he canonically hallucinates his friends and this is due to a sinister entity only he can hear speaking to him and commanding him to follow it even somewhat despite his will, manipulated by promises of bringing back these dead friends. And all this is in his episodes. Main character behaviour, guys. Main character behaviour.

Full song list:

Part 1:

1. Overture/Middle of Nowhere: We’re introduced to the Last Life world by the Chorus as players spawn in. Martyn seems to hear something, but brushes it off.

2. Corners of the World: Through Martyn’s perspective we’re introduced to players and their alliances. He meets Scott and Pearl and chats to them for a while, before heading with them to spawn.

3. “Tales: Record 13″/”The Boogeyman”: At spawn, Grian narrates his experience with BDubs’ Boogeyman curse, and all around the map the players express what they’ve heard about the Boogeyman curse themselves.

4. “A(ha)lliances”: The Southlands ally, making a-ha jokes, and Pearl and Scott solidify their alliance via Pearl gifting Scott a life.

5. “The Table Song 1″: Now some time into the series, the Chorus updates us on the alliances that have formed: the Fairy Fort, Team BEST, Magical Mountain, Scott and Pearl, and the Southlands. It also chronicles the journey of the Enchanting Table, now in Magical Mountain, and the Southlands’ trip to enchant which ends with Scar’s Boogeyman kill.

6. “Our Will Be Done (Precursor 1)”: Martyn hears a mysterious voice speaking to him for the first time, telling him to give Ren some Nether Wart. He does so.

7. “Debts (potentially an instrumental)”: Martyn extinguishes Ren’s burning tower and Ren tells him of his alliance and pledge to Lizzie, reminding him of his time in 3rd Life.

8. “In Spring We Met”: After returning to the Southlands, Martyn thinks about the conflicting loyalties he feels between the Southlands and the remaining ties he feels to Ren, despite it being a new life. As he falls asleep, the voice whispers to him about betraying the Southlands and forming an alliance with Ren to suit its own goals.

9. “Green, Crimson, Gold”: Joel is now Red after an unlucky session, and news of a Red name spreads throughout the server.

10. “The Table Song 2″*: The journey of the Enchanting Table is further chronicled, coming into Scott and Pearl’s possession, who then sell it to Lizzie for a life each, putting Scott up to the same number of lives as Martyn, 4.

11. “Their Dubious Game”: Scott wonders about how trustworthy the rules of the game actually are, prompted by the forced isolation of Red names this time due to their nature contradicting his experiences in 3rd Life with Jimmy, while Martyn, breaching the border with the Southlands, hesitantly wonders the same thing. 

12. “Northern Lament”: Below Magical Mountain, Joel fumes at being distrusted by everyone and isolated purely due to his Red name. Above, Scar muses about being isolated and distrusted for the opposite reason, because of how many lives he has.

13. “A(ha)alliances (Reprise)”: Time passes, and Martyn grows closer to the Southlands. However, he’s still meeting up with Ren who offers to introduce him to Lizzie and the rest of the Fairy Fort, potentially considering a betrayal. The Voice prompts him to accept this, as they can be useful in its plan.

14. “unnamed Wither theme (Instrumental)”: Grian informs the Southlands that Scott and Pearl are in possession of a Wither Skull, expressing his desire to retrieve it. Martyn, Impulse and Mumbo go, Martyn however intending to eventually destroy it because of how unprepared everyone is for a Wither fight.

15. Unnamed Song: After they’re found out by Scott and Impulse and Mumbo flee, Scott informs Martyn that Grian also has a Wither Skull, Martyn immediately gives the skull back, and the two talk about their distrust of Grian and his desire to bring complete chaos to the server. However, that night (post-song) the Voice informs him that its goal is to watch the server burn.

16. “The Table Song 3″: The Chorus further chronicles the Enchanting Table’s journey, now in the Fairy Fort, where two members – Ren and BigB – are chosen as the Boogeyman. Team BEST visits and Bdubs gives a life to Lizzie in exchange, giving enchanting to everyone free of charge. Ren manages to kill a member of Team BEST, Skizz, but BigB has not gotten a kill yet, and the session is nearly over. He catches sight of his closest ally Cleo by the side of Ren’s pit trap.

17. “Green, Crimson, Gold (Reprise)”: Cleo, now Yellow, arrives at Scott and Pearl’s base informing them of BigB’s Boogeyman kill on her, wanting to cut TIES. Scott and Pearl accept (song intro). Meanwhile, Joel is getting desperate for allies, now hunting for Yellows to convert to Red with him. Hearing about Grian’s wither skull, he goes to the Nether, where Grian and Mumbo are building a Ghost farm, and shoots Grian off the edge, turning him Red. BDubs, fighting in the Nether, falls and turns Red too. When heading to Scott and Pearl’s base, a Yellow Cleo is killed by Joel’s trap. 

18. “Friends”: The Southlands are informed of Grian’s death, and, now Red, Grian is to be exiled from the Southlands. He desperately tries to kill Mumbo as Impulse and Jimmy arrive, asking if they can still be friends, while Scott and Pearl mourn the loss of a friendship with Cleo, and Martyn is introduced to the rest of the Shadow Alliance under the gaze of the Moon, giving Ren a life.

Part 2:

1. “Walls”: Grian has been exiled from the Southlands, the stone wall he built separating them. In the Snow Fort, Etho and BDubs build a wall to keep them separate until he can gain a life again. Cleo, wanting vengeance on BigB, meets Scott on the other side of his wall, Scott giving her some sugarcane. Post-song, Grian, Joel and Cleo express their desire to gain lives back from Scar. 

2. “Their Will”: Martyn relays the aims of the Voice, which he now interprets as the Moon, to the rest of the Shadow Alliance, who agree with it.

3. “Die For Me”: In a Shadow Alliance meeting, Martyn asks if there’s anything recent he should know about the Fairy Fort. They tell him the Fairy Fort has burned down at the hands of Cleo, relaying the tale as a flashback (with mainly Cleo singing). 

4. “Promises”/“Coal Mine”: Martyn chases Jimmy, who’s stolen his life in the Southlands life-passing ritual, spurred on by the Voice. He lies to Jimmy, telling him they can run away from the Southlands together if he gives him back his life. Jimmy expresses his worry about potentially being the first out again in the process, as this has happened before and he is very vulnerable as a Yellow, and agrees. Martyn runs back with his life straight after.

5. “The Table Song 4”: Since there are only three of them now, the three remaining Southlanders spend the day together, including sneaking around Team BEST’s snow fort looking for the Enchanting Table and finding a secret entrance. They are caught but let go due to some lies of Martyn’s about their aim, telling them he was simply looking for Ender Pearls.

6. “Unnamed Wither Theme (Song: Precursor)”: During the day, the Southlanders meet Scott, Martyn bringing up the danger of Grian’s Wither Skull as he’s now Red, and they decide to look for it. As Martyn is called away to a Shadow Alliance Meeting, Impulse manages to find it, and entrusts it to Scott. Scott gives it to the Fairy Fort for safekeeping.

7. Unnamed Song: Cleo, now Yellow again, visits Scott and officially joins their alliance. Scott expresses his desire to simply protect his allies and simply live a quiet life in these games, though violence is necessary as a means to this end as he knows the chaos that will ensue.

8. “Tales: The Wizard On The Mountain”: a Yellow Grian rejoins the Southlands, telling them (especially Martyn, as he did not know when this happened due to his absences) how he got a life back from Scar, who’s now Yellow himself. (And yes Grian gets songs where he’s relaying events to others instead of ones of them happening to him because he’s a Watcher hehe, he’s not involved in the action songs he watches)

9. “The Trial of Timmy”: The Southlands hold a trial for Jimmy about whether he should be exiled or stay in. They will anonymously vote their verdict in a book, Grian campaigning for Jimmy to leave, while the others, minus Martyn, campaign for him to stay. When it is time for them to vote, Martyn votes him in.

10. “Our Will Be Done (Precursor 2)”: The Voice is angry at Martyn, asking him why he’s still attached to the Southlands when he wishes to join the Shadow, appearing to him and telling him a demonstration is in order... “Lights extinguish/Begin the Slaughter/Our Will Be Done!”

11. “Unnamed Wither Theme (Instrumental 2)”: Grian manages to gather the three Wither Skulls he needs with the help of Impulse, who wants to stay loyal to his allies and feels regret for taking it with Scott. Martyn, though not active, does not try to stop him, and distracts Team BEST while the other two take it. 

12. “Red, Crimson, Gold (Reprise 2)”: As Grian is distracted by this aim, the other members of the South fall to boogeymen, of which there are six of this session, due to the Voice’s promise. Impulse falls to Yellow at Scott’s hands, and Mumbo and Jimmy both become Red, along with many other players on the server, including Lizzie and once more, Joel.

13. “Friends (Reprise)”: Returning to the Southlands after their mission, Grian, Martyn and Impulse find the South blown up by Mumbo: mourning the loss of the alliance, they mournfully burn the walls in commemoration. Grian and Martyn muse on each other’s untrustworthiness, Impulse remaining loyal to both, as the allyship between Scott, Pearl and Cleo strengthens. Far away, Etho, with Bdubs once again on the other side of the wall, discovers the missing Wither Skull, suspecting the Southlands.

14. Unnamed Song: Martyn and Grian, now the last two Southland members after Impulse is shot by Mumbo in the Nether and becomes Red, mentally comment about their distrust of the other person and about there being something off about them, Martyn due to the Voice’s seeming hatred of Grian and Grian’s apparent apathy to everything apart from causing bloodshed, Grian because he senses something around Martyn (Watcher powers heh) and his relative absence from the Southlands when they were still around, though he does express a wish to protect their last remaining threads of alliance. They express none of this aloud. 

15. “When Will You Learn?, Parts 1 and 2”: Heading back to the Southlands, Grian and Martyn meet Jimmy and Mumbo, who attack them. Grian kills them both, to Martyn’s shock, and shocked himself, tries to defend these actions. All of a sudden, the Voice appears again and a Boogeyman curse strikes Martyn. Prompted by the Voice (seeming to have a specific hatred of Grian) and by vengeance for Mumbo and Jimmy, Martyn immediately moves to kill Grian. He succeeds, but the kill is attributed to Joel, who has sniped him. Exhausted, Martyn managed to kill Tango. When called to another Shadow meeting, he returns to his empty Southlands tower instead.

16. “Unnamed Wither Song (Proper)”: The Wither is raised by Grian and Impulse in Team BEST’s base. Etho wants to run, but Bdubs attacks it, giving him the courage to attack too – however, Bdubs loses a life to it, turning Red once more. The remaining Greens and Yellows flock to fight it as the Reds join in, trying to kill the other players. The Wither is defeated by Etho; Impulse falls to Scott’s hand, dying permanently; Bdubs takes Lizzie’s final life as he was promised a life in exchange for killing a Red; he is shot by Grian as he runs to Etho to inform him of this.

17. Unnamed Song: In the aftermath, Etho mourns BDubs’ death, while Ren mourns his failure to protect his Shadow Queen, even if she was Red.

18. Unnamed Song (and the only one not following ‘canon’ events): With Impulse’s death as a catalyst, Martyn seeks out a Red Grian, proposing a temporary truce for him to explain what's going on. They confront each other about their various actions against the Southlands, and their apparent detachment from it, and talk about their suspicions that the other person knows more than they seem about the nature of the games – as the Voice tries to stop Martyn from inquiring further. Grian says he experiences this alongside his friends as a decision when prompted by Martyn stating he never cared in the first place. He wonders if Martyn would understand the situation due to his position; however, he does not know what Grian is talking about and distrusts him. Angry, Grian leaves, calling Martyn nothing but a follower. Angry, the voices swell around Martyn and he falls asleep.

19. “Our Will Be Done”: Waking up all alone, Martyn hallucinates his friends, before they are revealed as fake, the Voice in their places. He snaps at it, finally asking why they’re doing this. Why are they speaking to him? Why are they hell-bent on killing Grian? What did he mean? Why does he have to follow it when he wants to do the opposite of what they tell him? Who are they – why should he do anything they say? However, they pacify him, promising that if he does what they say, they will bring Impulse, Mumbo and Jimmy back. Martyn concedes.

20. “Scott’s Elegy”: Scott, cursed as the Boogeyman once more makes a decision to surrender himself to the curse instead, as he doesn’t want to kill any more allies with so few lives left in the game.

21. Unnamed Sad Martyn Song: Martyn thinks on Scott’s decision, thinking about what he’d once wanted, everything that’s now impossible as he’s pushed around by the Voices with not enough willpower to say no: he wishes to make choices but cannot, and thinks about Grian’s words. 

22. “Our Will Be Done (Reprise)”: In a meeting of the Greens and Yellows, the Voice tells Martyn to place an End Crystal in the centre as a test for Scott: if he blows it up, he passes, if he doesn’t, he fails. Scott chooses not to, and as Scott turns Red, the voices talking to Martyn become loud and angry, commanding him to kill Scott for disobeying them, yet again promising him the Southlands back if he does. While walking around, Martyn loses his first life to a trap at Grian’s hands.

23. “Boogie Boogie On The Dance Floor”: The Chorus informs us that it is the last day. Pearl is chosen as the Boogeyman, rigging a TNT trap on a disco floor, turning Ren’s red. The others quickly fall to the Reds, including Cleo.

24. “Martyn’s Stand”: Now left as the last Yellow, Martyn decides he is tired of hiding, deciding make a last stand against everyone. At first humming the start of “In Spring We Met” as a comfort, he heads to a mountain and pouring lava down the sides as a beacon for the Reds. However, though he puts up a good fight, he doesn’t manage to take any of them down before dying himself, marking the server entirely Red. 

25. “Battle Royale”: With the Reds having turned on each other, the four survivors – Pearl, Scott, Ren and Martyn – agree to a Battle Royale to decide the victor. Pearl dies early on, prompting Scott to grieve and resolve to win this fight, no matter what it takes. Martyn eventually falls to his own End Crystal. Only Scott and Ren are left, and they fight to the voices of dead players telling them to play the game. After a long fight, Scott manages to kill Ren, partially due to a zombie which he interprets as the world maybe doing something after all for his defiance. He is crowned the winner. However, the Voice does not like this, the Chorus supporting this, and Scott is stricken dead with heavenly lightning.

26. “Plainly Spoken [Epilogue]”: All is silence, and yet Martyn opens his eyes once more, to the Voice and the Chorus, now joined as they are the same entity, informing him how disappointed they are in him, and that he is heading closer and closer to the light. As he asks questions, he is cut off, and they say he will forget all that has happened with them as he and everyone else moves into the next game. Up above, the land is now in the state it was at the start of “Middle of Nowhere”, and they are revealed to be those that run the death loop. 

*This may be later excluded due to not adding much at the moment.

[actingwithportals]

Since we’re talking about the deplorable Portal movie again, I’m gonna drop my two cents into why this bothers me particularly, on a personal level, in what a Portal movie might do to the story. (Buckle in, this is a long post.)

(Also, for anyone who doesn’t know the “Portal Movie” has been in production hell for literal years and it feels pretty unlikely it will escape that anytime soon, if the movie does eventually get made at all, so this is a mostly theoretical discussion but one I think is important nonetheless.)

(Also also I’m going under the assumption of a Portal movie following the characters and story we already know from the games as opposed to giving us new characters and plot and just centering it around the concept of Portal. This is also theoretical and isn’t confirmed that that’s how an actual Portal movie would go.)

So, I think the objective biggest concern to have with what could possibly go grossly wrong with a Portal movie is the Hollywood need to whitewash characters of color, aka Chell in this instance. Plus how they might handle her muteness, how they would handle her as a woman protagonist, how they would handle GLaDOS as a woman antagonist, and the overall themes of Portal that ultimately centers around these two women characters who both experienced abuse, either from each other or from Aperture itself. But there are people who are more informed to speak on those issues than I am, so I’m gonna leave that to them and talk about something that I’ve got the experience to discuss instead.

My boy Doug Rattmann. (note: I’m schizophrenic.)

In the event of a Portal movie that follows the main storyline of the game(s), Rattmann isn’t likely to be a character we actually see (outside of potential flashbacks), but his presence would be made known because his presence and influence in Aperture are both very integral to the story and Chell’s ultimate success. It’s very likely he would get brought up, even if just by showing us his murals and referencing who he was in life and the role he played as an Aperture employee, and as the only person to survive GLaDOS’s attack that put the facility into the position Chell wakes to find it in.

And I don’t trust like that. I don’t trust that filmmakers with the motivation of fame and financial gain will take a character like Rattmann - a schizophrenic who throughout most of his relevance to the main story is unmedicated and in the midst of a very severe psychotic episode - and treat him with care and respect and sympathy.

We see how movies treat mentally ill people, especially those of us with “scary” illnesses like schizophrenia. We see how we’re constantly reduced to being “crazy and unhinged and morally dubious because the voices in our heads tell us to hurt people”. We see how we’re used as jokes, as villains, as “pathetic” fodder to get killed off for shallow sympathy and shock value, and you know what? I don’t anticipate Rattmann would get a much more nuanced approach from a JJ Abrams film than... that. It’s hard for me to imagine he would be presented to the audience as anything much more than the “crazy ps*cho” who survived because of his paranoia (because “a broken clock is still right two times a day”) and wrote some funny iconic line on the walls in his madness such as “the cake is a lie”. That’s what I fear we’d get, because I know that’s how most of the world sees us. Because that’s how people see me when they learn I’m schizophrenic.

The Lab Rat comic did something that’s rarely seen in a lot of mainstream media I think. It gave us a schizophrenic protagonist who we as the readers got to see both in a successful career - medicated and well and seemingly having an average life despite where he worked - and in the midst of what was a very frightening psychotic episode, because medication was not available to him and he had no other option but to let things progress to that point. And he was Still a hero. He was Still sympathetic. He was Still treated with respect and as someone we were meant to root for and connect with. His humanity wasn’t taken from him, and in fact it shone through clearly. Because psychotic people are still people even when we’re experiencing psychosis.

And, you know, let alone the fact that the comic didn’t drop him into the trope of becoming a violent or otherwise “evil” person when he was unmedicated. He retained the same morals he had when he was medicated - the paranoia didn’t take that away from him. I like to think that my paranoia doesn’t take that away from me too.

I just.. I don’t feel good at the thought of something so beautifully done, something that we almost never get, being reduced to bad tropes for the sake of suspense and theatrics and a good buck. I mean, it might not happen; I might just be critical and overthinking. But it usually does, and I’m usually not. There’s endless evidence in media to support this pattern, and I think it’s a valid concern to have.

I don’t think people can’t be excited about a Portal movie - I know that I would be over the moon if a Portal movie came out that did the source material justice. But people are going to have concerns due to the fact that many things in these games were done with a lot of nuance and care, and it’s hard to believe something like this could be repeated, especially when copied over to a new medium. I mean, as it was recently pointed out to me even Valve themselves dropped the ball by lightening Chell’s character model between P1 and P2. The source material itself still does have its faults despite its successes, so who’s to say people can’t be worried that a movie would do something equally egregious or worse?

Portal means a lot to me. It has for many years and it will continue to mean a lot to me for a long time to come. The validation I found in Rattmann’s character at the exact moment in my life when I needed it most is not something that just happens any day. So I’m going to be critical, I’m going to be skeptical. I’m happy for people who are excited, but please don’t tell me or others that we shouldn’t be concerned.

I’ve got this one really incredible schizophrenic rep that Portal Lab Rat gave us. I’m allowed to fear that getting taken away.

[immaturityofthomasastruc]

An irritating pattern I've observed in this season of Miraculous Ladybug is how it feels no one really earned anything this season. Aside from the obvious Gabriel not earning his victory in the season finale and how Chat Noir acting like Ladybug's last hope when he's not as reliable as he should be to make that difference, I'd argue Ladybug also didn't quite deserve that shallow comfort either as she did do stuff that would've killed trust in a normal partnership. Her appeasing Chat Noir in certain episodes feels hollow when she proceeds to continue as she does (knowing how it affects him) without really changing things. Hell, I wouldn't even call her a good enough guardian for Su Han to just trust her with the miracle box unsupervised (girl tries, but she clearly isn't handling it well). Alya, as awesome as she is, I didn't feel she quite earned her place as a permanent fox when she did get that role (in optigami, making a bad call by recruiting senti nino and it was Marinette who had to clean up that mess). She got a few good moments like in senti bubbler, but then her role got sacked unceremoniously at the finale without doing much with it. Nino did not earn learning about Rena Furtive at all. No new hero earned their miraculous at penalteam. Zoe didn't earn shit. And Luka sure as hell did not earn learning about the main duo's identities and proceeding to not do anything useful about it (he could've stopped Ladybug from gaslighting Chat Noir im Ephemeral but he did nothing, which is, in retrospect, worse than Marinette's actions in that episode).

Honestly, nothing important was built up properly so when the main event happens, it feels like it came out of nowhere with no basis whatsoever. Funny how Astruc once said something about how an idea is not a story... he had a lot of interesting ideas, but couldn't weave it to a story that made sense.

To me, Season 4 just felt like filler, even more than Season 3.

Sure, there were a couple of minor plot twists and reveals, but only a handful of them actually factored into that mess of a finale, and like you said, nothing really felt earned. A lot of stuff in the finale just happened with barely any buildup (Alya’s cover being blown, Ladybug “apologizing” to Cat Noir, Felix being relevant to the plot again, and Gabriel’s unearned victory).

But the most damning thing of all is the fact that a lot of this could have been avoided with the right writing. The writers had twenty-six episodes to balance out all of these character arcs and subplots, and what did they do with this precious time? Waste most of it on either Unfunny Marinette Slapstick, Angstdrien Depreste whining about how much his life sucks, introducing two entirely new characters that added nothing to the overall plot, giving Chloe more spotlight episodes than Gabriel and Felix combined when Chloe also added nothing to the story, throwing in seven new heroes that will end up being written off by the end of the season anyway, a pointless “What if?...” episode, and making an episode about some grumpy old man as a stand-in for the critics of the show.

The writers had plenty of opportunities and a lot of time to focus on a lot of the stuff they set up, but they settled on spinning their wheels instead, and as a result, like you said, nothing actually felt earned. Very little actually happened this season, and I’m pretty sure it was because the writers knew they were getting a fifth season, so they felt like they could slum it for a year before they actually had to put effort into writing a story arc, judging from what the first two episodes of Season 5 are setting up.

Sure, most TV writers can only dream of getting a network deal that good and would want to do as much as they can, but not the writers of this show. But hey, better late than never, am I right?

[flightfoot]

As much as I enjoyed Psychomedian we really should be out of filler content in Season 4. Whether they want to admit it or not, ML is a serialized show as of Season 2. The most filler content we should be getting is the random introduction of new heroes for the sake of merchandise. Truth and Lies only served to destroy the love decahedron which makes their existence in Seasons 2 and 3 pointless. Furious Fu introduces Su-Han who should have a role in the story but doesn't because reasons. The only real plot progression occurs in like Gang of Secrets, Optigami, Sentibubbler, Rocketear, and Kuro Neko. Penalteam is just there to give us the remainder heroes so we can go into the Season 4 finale which is plot, and Qilin is just floating in the void. I would include Gabriel Agreste as plot but since Felix is not in the main cast yet we will have to wait and see if anything comes of it. The same goes for Hack San since Chat Noir trying to kill Alya never comes up again. Also Alya becomes more integrated to the story only to go offscreen most of the time because we need Chat Noir angst over anything else. God forbid I want the smart character in the show to do stuff. So 8/26 episodes is the story, that's not even a third. I just don't know if its sheer incompetence by the writing staff or if Astruc just holds a gun out and prioritizes lovesquare bait over anything else.

You and I have very different definitions of what constitutes filler, anon. Miraculous has never been a show that primarily concentrates on moving the "Defeat Hawkmoth" storyline along - it cares more about developing the characters. By my reckoning, we've only had 2 episodes of filler in season 4 so far - Psycomedian and Simpleman. Qilin probably will be filler too, but I don't want to shove it into that box until we actually see it.

Truth: Lukanette broke up. But on top of that, we got a heaping helping of character development for Luka, more than we've ever gotten in the show before or since. Plus set up for Gang of Secrets, with Marinette realizing how difficult actually being with other people is while keeping so many secrets, putting her under immense emotional distress as she tries to cope with both the break-up and the realization.

Lies: Adrigami broke up. On top of that, we got to see how down Chat is when Ladybug isn't around (what with the patrol), and how he HIMSELF isn't sure who the "real" Adrien is - both themes that become important throughout the season. Lies was good set-up for Kuro Neko in particular. Plus the break-up with Kagami helps to push Adrien further away from what little support network he had, which isolates Adrien even further, making him even more emotionally dependent on Ladybug.

Gang of Secrets: No duh this one is important, you and I agree on that. Biggest status quo change of the show, at least character-wise. Marinette breaking down over all the secrets she has to keep, trying to cut off her relationships entirely, only to decide that maybe, just maybe, this was a risk worth taking for her own sanity - and TELLING ALYA HER IDENTITY?! YES PLEASE. And Alya knowing is relevant repeatedly through the rest of the season, yay!

Mr. Pigeon 72: Introduction of akuma charms (which admittedly, seem kinda pointless after Dearest Family) but also has Marinette facing her feelings so she stops trying to hide from the fact that she's still in love with Adrien. I think the highlight here though, development-wise, is how Alya showcased how her knowing Marinette's identity can be a very good thing, with how she helped emotionally stabilize Marinette at the beginning of the episode, and how she largely saved the day once Shadowmoth attacked.

Psycomedian: Filler

Furious Fu: Yes I know Su-Han hasn't been hugely relevant this season, but him being introduced still matters. Also piled more pressure on Marinette's shoulders, with Su-Han threatening to take away the Miracle Box if she ever fails, and showing more of Adrien's thought process and feelings, with him being willing to give up the Ring IF Ladybug's the one asking, but not being willing to have her memories of him ripped away.

Sole Crusher: Zoe introduction.

Queen Banana: Vesperia introduction. Also continues the "Adrien becoming increasingly isolated from his friends" storyline, with Chloe breaking off her friendship with him when he tells her to apologize to the class. Might further a storyline for Chloe too, we'll have to see whether that goes anywhere.

Gabriel Agreste: Guessing the whole "Felix vs. Gabriel" thing is gonna come up again in the finale, plus evidence of Felix being a sentimonster and blaring lights pointing to the Twin Rings being important, and not just for sentimental reasons. The rich person alliance may also end up being relevant, we'll have to wait and see.

Mega Leech: Polymouse introduction. Also more blaring lights pointing to Gabriel's ring being important.

Guiltrip: Pigella introduction. More hints that Chat Is Not Okay, with him trying to Cataclysm himself.

Crocoduel: Purple Tigress introduction.

Optigami: Gabriel realizes Alya's important, Alya running into some difficulties with keeping secrets from Nino now, and the beginning of the Ladynoir Conflict. Alya gets her Miraculous permanently.

Sentibubbler: Shows some of Marinette's emotional trauma, follow-up from Optigami with Shadowmoth threatening Alya's family and boyfriend, Alya shows once again why trusting her was the right choice, and she goes undercover. Furthers the Ladynoir Conflict

Glaciator 2: Great character development for Adrien, and for Ladynoir as a whole, with establishing boundaries and talking things out. Also shows that Marinette's aware of why she goes overboard with all the fantasies of asking Adrien out, but can never actually do it.

Hack-San: More "Alya is awesome" promotion, as well as building on the difficulties of her keeping her new role secret from Nino, furthering the Ladynoir Conflict, and (though this is speculation) probably setting up for Alya to have an even bigger role, to be able to replace Marinette, if the need arises again. Also gives Ladybug a peek into Chat having abandonment issues.

Rocketear: Payoff from Optigami and Hack-san with Alya's relationship cracking under the strain of secrets and misunderstandings, much like Marinette's relationship with Luka and Adrien's relationship with Kagami. Adrien finds out Carapace's and Rena Rouge's secret identities, and more Ladynoir conflict. Alya tells Nino of her new role.

Wishmaker: Luka finds out Ladybug's and Chat Noir's secret identities. Admittedly, not as relevant as I'd thought it would be, at least so far. Also some character development for Adrien, with more of the "I don't know who I am or who I want to be" plotline, and possible evidence for something fishy going on in his past.

Simpleman: filler

Qilin: Hasn't come out yet.

Dearest Family: Charms get superseded by Mega Akuma. Which, admittedly, mostly just negates that development, but also shows that other Miraculous wielders can develop extra powers, it's not just Ladybug.

Ephemeral: Furthers the Ladynoir Conflict with Chat realizing that Ladybug's keeping something from him again, more tension as Su-Han pressures her to find out Chat's identity or he'll take Chat's Miraculous. More blaring lights pointing at Gabriel’s Ring Is Important.

Kuro Neko: Payoff for some of the Ladynoir Conflict, Adrien being isolated, and not really knowing who he is, storylines. Character development for Adrien, and alerts Ladybug that There Is A Problem With Chat Noir And Their Relationship.

I'd like more Alya too, don't get me wrong, she's my second favorite character, but Adrien's character development and plotline is an important part of the show - he's the deuteragonist.

I actually think the writing, development-wise, has been pretty good this season! A lot of stuff's happening, and there's a decent amount of build-up and pay-off for it.

Also Lovesquare's always gonna be the central relationship and characters in the show, Marinette and Adrien are the foundation it's built on. I love the supporting cast and am thrilled to see them have more prominent roles (especially Alya), but it IS gonna be prioritized. Miraculous has never tried to hide that.

[ktinastrikesback]

Alright, here it is: The meta post about Eddie Diaz and mother figures and how it all leads to Buddie (I think). Thanks to @yramesoruniverse for your help with this, and @kitkatpancakestack and @evanbucklies for inspiring it! I really have been thinking about this nonstop and had to get it all down. This got quite long, so I'll include a cut in order to spare everyone who doesn't want to continue reading!

We first get an idea of Eddie's complicated thoughts surrounding mother figures throughout his whole storyline with Shannon in season 2 when he romantically reconnects with her for Christopher's benefit. I do want to keep the focus here trained on Eddie in season 4, but I want to point out a season 2 line that is pretty fitting. As much as I don't want to use a Shannon quote as a starting point for a meta, I think this one is actually pretty useful: "...Eddie always knows what's best for everyone...God forbid you stop for a second and actually ask them what they need." While it's harsh and spoken out of spite, Shannon does make a point here which becomes relevant at the end of season 4.

We don't know a whole lot about season 4 Eddie (thanks writers) aside from the fact that he's working on being a single father (he tells Marjan in the crossover that he's "doing the whole single dad thing") and being a support system for Buck and the rest of the 118. Eddie's "arc" this season is moving on from Shannon and beginning to date again (a very small and limited arc, which hopefully season 5 will remedy). Of course, because it's Eddie, the core of this arc is him wanting what is best for Christopher. And it seems pretty clear that what Eddie thinks Chris needs is a complete family with a mother figure (note how he asks Bobby if he's "happy now, with Athena and the kids" and just assumes that Bobby is talking about Ana Flores), but the universe pushes against this idea throughout the whole season. There are a lot of examples in season 4 of unreliable mother figures (for example, the alcoholic mother who causes the wreck in Blindsided), but in order to save some space here, I'll list and discuss those in another post. The main thing I want to point out is that we've seen that mother figures aren't always perfect, and they aren't the end all be all that Eddie thinks. And canonically, the show suggests several times throughout the season that the partner that Eddie needs/wants and who is best for Chris is actually Buck.

In Breaking Point, while Eddie is on his date, it's Buck who is at home taking care of Christopher and getting him through his nighttime routine (which establishes that he knows the routine and has gotten Chris ready for bed before, hence the reference to his "cautionary tale"). On the date, when Ana says that no one has been in his life since Shannon passed away, Eddie noticeably looks uncomfortable (the will reveal makes this scene and that particular comment and Eddie's subsequent reaction so rich. Eddie knows that what Ana is saying is completely untrue, because the person he trusts most with his son is with him at that exact moment). Later, when Eddie tells Christopher about his new 'friend', he says "it's a woman." And...to be honest, what the hell was that? He could have said, "I'm dating someone" or "I have a girlfriend." But he says it like this? And it's weird...right? Christopher is the one who has to say "girlfriend." Also his tone of voice when he says it...it's suspicious to me. Anyways...Eddie talks with Ana about Christopher's reaction and her first instinct is to take a break and wait for Christopher to warm up to the idea so as to not cause him more pain. Meanwhile, Chris is out the door, in an Uber, and on his way to Buck, the person who actually gets Chris to talk about his feelings and who fixes the whole mess. So while Eddie is talking with Ana, Buck is playing a parental role AND promising Chris he isn't going anywhere, completely juxtaposing everything Ana has said and done in this episode (throwback to Fools, anyone?). Just like we see in 4x14, the perfect partner that Eddie is looking for is already putting in the work, no questions asked (and this is all before Buck knows about the will!). Yet Eddie is still trying to force it with Ana.

We see this again very briefly in Parenthood. Eddie and Buck are seen agreeing on parenting ideals on a call, similar to how we saw them work together in Future Tense to talk Chris out of playing video games. At the end of the episode however, when Chris asks to join the movie, Ana just jumps ahead and lets him in, not consulting with Eddie. Of course, this isn't a serious issue and Eddie is happy to have Chris join them, but it still carries on with juxtaposing Ana with Buck. It's also a bit interesting that Chris sits between them, parallel to the video game scene from season 3. But again, it's a very brief scene, so I don't know how much value it has overall.

We see all of this come to a head in 4x13 when Eddie becomes invested in the single mother and her son from the balcony call. Interestingly, this call happens after Eddie's conversation with Carla ("make sure you're following your heart"). On the call, Eddie flirts with the mom. This is interesting because we've seen many times in the past that Eddie...doesn't like flirting, especially on the job. Eddie openly flirting with the mom here may be his way of fighting against what his instincts are telling him Carla's comment was about (him liking Buck/a man). Eddie quickly becomes invested in Charlie (the son) and takes a liking to his mother because he relates to her. You can kind of see the gears working in Eddie's head when he's at their apartment...he's admiring her and perhaps maybe fantasizing about having a partner who gets it. And he sees a mother taking care of her son...reinforcing his love for the mother figure. But of course, we all learn by the end of the episode that this mother figure is extremely warped and not at all what her child needs.

The best part about this plot is the way it plays into the shooting scene at the end of the episode. Just before he gets shot, we see Eddie in an interesting framing choice (I am genuinely serious when I say that I want to sit down with Brenna Malloy and ask her about her directing choices for this whole scene):

The mother and son are placed into separate ambulances, and Eddie stands between the two vehicles. Visually, Eddie is literally placed between the mother figure and the son, and Buck is standing in front of him (at a slight distance). As (thank you to @kitkatpancakestack for pointing this out!) the ambulance with the mother drives away, Eddie says "shoulda gotten here sooner" to Buck (who replies, "That kid is just lucky he met you." He knows how to reassure Eddie and recognizes what is good for the child). Then of course, Eddie gets shot. But let's focus instead on why this framing before the shooting is important: the universe does scream, and it sure as hell was screaming at Eddie this whole episode. Carla calls him out for not following his heart, he idolizes this mother only for her to end up being horrid, then he gets shot with his partner standing right in front of him (you know, the same person who takes care of his son for the entirety of the next episode).

This can be read so plainly: Eddie has been fighting hard for what he thinks is best for his son, and he's stuck in this relationship with Ana because he thinks she is what will make Christopher happy. Meanwhile, Buck is in front of him and has been there the entire time putting in the work with Chris and making him feel heard, loved, and important. This ties right back to that Shannon line: if Eddie had simply asked Christopher what he needs/wants, it's very possible that his answer would be "Buck." Eddie doesn't need to be stuck in the middle of this relationship he doesn't care about because Chris' happiness is not dependent on having a mother figure.

Of course, we didn't see very much of Eddie in 4x14 so we don't really know what is going through his head regarding the shooting or Carla's comment just yet, but I'm hoping we see a lot of him working through all of the events that took place in 4x13/14 throughout next season. Because of the way the mother/son storyline ended up and the way they framed Eddie in the shooting scene, I'm willing to bet that he's going to be reevaluating just what Christopher needs and what he already has (with his Buck).

(Also side note--the welcome home party scene...when Buck is watching Eddie greet Christopher, notice the framing there too. The photo of Chris and Shannon is on the right side of the frame, Eddie and Chris in the middle, and Buck to the left. You already know what I'm going to say, so I'll leave it at that...)

Anyways. Edmundo Diaz is confused about what he and Christopher need, and it's actually a brilliant way to dive into a storyline about his sexuality and his feelings for Buck. Remember that post-finale interview with Tim where he said Eddie is always concerned with what's best for Christopher? That there will be a lot to explore with Eddie? I take everything Tim says with a grain of salt, but looking at all of this, there's quite a bit here pointing in the direction of pining Eddie. It's not wishful thinking, it's in the text.

I'm literally just applying basic film analysis to these scenes...and everything is adding up to a larger picture. I'm really excited to see what Eddie's arc in season 5 will be because there's so much set in place for it to be really great.

[shinneth]

hello~!! didja see the journeys ep with paul yet? what did you think of it? 👀

Oh, I sure did! Less than 24 hours after it came out, no less. Which is saying something, since I've not watched any of the Pokémon anime since XY (more had to do with getting rid of cable + general burnout; not to knock on XYZ, but Best Wishes hurt me).

Thoughts on it? Well, a little on the mixed side. Least I can do is go over it in more detail. Without watching Journeys at all outside this episode, I've got the overall gist well enough. So, guess it's time to pick this apart.

Cramming 2-3 plots in one episode was a misstep imo

I heard the last time Ash's reserve group at Oak's lab was featured in Journeys, it did a less-than-stellar job showing them off. Apparently, a good chunk of them weren't even seen in that episode, let alone had a role in it. This episode rectified that and made sure every single one of Ash's currently-owned Pokémon was at the very least visible, as even the ones who only got background/still-shot moments at least got to display an element of their personality. That much I greatly appreciate. Guess it's inevitable that pulling this off well will only become increasingly difficult as the series presses on with Ash as a protagonist, so at the very least I can respect this episode for going out of its way to make the vast majority of these Pokémon relevant in one way or another.

Especially since the Fire-type brigade had a special purpose in helping Ash's Gengar learn Will-o-Wisp. And as someone who values the strategic aspect of Pokémon battling, I'm super happy it was this move that Gengar learned and not something like Fire Punch. I enjoyed seeing this being shown in such detail! It really did feel like stepping back to the older seasons that actually put effort into showing off the importance of training.

However, as I watched the episode, I noticed how much time was being invested in these two plot points and remembered this is supposed to be the episode where Paul returns after a 12-year absence...

And from what I understand, Paul ain't gettin' any more appearances after this. This is it! This is all we get after a decade-plus of nothing!

So, in all honesty, I think at the very least the plot of Ash reuniting with all his Pokémon, Goh properly getting acquainted with them all, and the training for the Masters 8 should have been its own episode. Because I do believe it's very important to honor history and give everybody their due diligence when the anime gives them time to actually show up and matter.

Now, with Gengar learning Will-o-Wisp? That meshes in well with Paul showing up. I'd keep that. But the abundance of nostalgic fluff (that I love, but I gotta tell it like it is) really made this episode feel more than a little truncated in the areas that should have mattered most.

It was a competently written comeback for Paul...

On a superficial note, I am a little bummed that Paul didn't get any tweaks in his design (such as colored irises, which Ash was granted from Best Wishes onward; before then, his eyes were just as dotted and black as Paul's). I certainly didn't expect him to get a new outfit or anything since they didn't give Dawn that much (... from what I recall they DID give that to Serena, buuuut Serena's from the era of customizable PCs so I guess that makes a little more sense? Didn't play Gen IV's remakes, so idk if they offered that in those), but it would've been cool.

Then again, I HAVE heard about the interview in which the logic for never ever letting Ash age for the sake of keeping some "feeling like the first day of summer every day" sentiment... much as I roll my eyes at that, I've pretty much given up on the progression of time EVER being feasible in this series. Up through DP, I could at least pretend Ash was aging a year per major region (minor quests like Orange League and the Battle Frontier didn't warrant full-year lengths to me). At this point, given the design and how many generations we're in now, there's really no other choice than to accept this is basically Anime Simpsons time-wise.

Paul having his own Gyarados, Garchomp, and Metagross was completely believable, of course. He's been doing this Pokémon training thing just as long as Ash has, and there was zero indication that he would have stopped after Ash beat him. Unlike Gary, Paul didn't decide on a career change. He was set on challenging Brandon again (more on that later...). So, yeah. It would be perfectly logical for Paul to have about as many reserves as Ash. Reggie's got a big-ass backyard for that, after all. And all three of these Pokemon are ones I'd totally see have Paul having on his own journey.

Would've liked a longer battle, ngl

I'm not sour that Paul lost to Ash again here. Ash losing to Paul at this stage probably would have damaged his cred significantly (considering what all he's accomplished from XYZ and Sun/Moon) - this is right before the Masters 8 stuff starting up, after all.

But I think I would have at least preferred a tie.

Then again, with a certain other plot element I'll get to in a bit, I suppose that might have weakened that message a tad. Really, though, I would've liked a longer battle. I'm just used to Ash/Paul battles being lengthy affairs, full of twists and turns and crazy-ass strategies being utilized. Like, in all fairness, all 3 of Ash's Pokémon gained significant abilities from this battle alone (Lucario got Bullet Punch, Dragonite got a crazy-ass combo move, and Gengar got Will-o-Wisp). I am bummed we didn't get a resurgence of Counter Shield - THAT would've been cool to see make a comeback! And it's one of Ash's few legitimately clever tactics. Though I guess that technique was more of a Dawn-related thing, ultimately. Still, didn't stop Paul from copying it in the Sinnoh League :P I wanna say Dragonite's made-up technique may have been some kind of loose reference/spiritual successor, but in practice it looks like they serve completely different purposes.

Thanks to so much time being eaten up with Ash's Pokémon reunion, there sadly wasn't much left for there to be an epic fight. What little we got was good enough, and it was very nicely animated.

The real appeal in Paul and Ash's rivalry, though, was in how Paul actually made Ash question himself and his methods/motivations. Paul on the outside came off as someone who should have no business being as good as he is because he isn't all about the "love and friendship" aspect of Pokémon. Naturally we're past that development for both of them, but this extended into their battling as well. Their first full battle was loaded with multiple switch-outs on both ends, Ash being forced to wonder what Paul had planned when something didn't immediately make sense to him, and it was just a glorious display of battling psychology.

I guess switch-outs being forbidden from the off in this battle played a role in how this could have been just a little bit more in-depth. And it'd be foolhardy to just expect this battle to be right up there with both of the full battles that happened in DP. The characters are both in very different places now compared to then.

Still, I couldn't help but roll my eyes a little when Paul actually wondered "Oh shit, is Burn really affecting my Metagross' strength?! The thing that the Burn status effect has always been?!"

ofcoursehefuckingknowshehasafuckingmagmortarwithflamebodyandREALLYfuckedpikachu'sshitwiththeburnstatussowhytheeverlivingfuckisheevenwonderingaboutthistohimselfgoddammit

... a GYM LEADER you say

So. I'm of two minds about this.

It's REALLY COOL the series itself is acknowledging that Paul is far too talented to just be an aimlessly-wandering nobody trainer and gave him something that'll elevate his status and reflect just how his presence positively affected the series.

Bonus points if (and this is SUPER-DELUSIONAL OPTIMISM btw) Paul actually became a Gym Leader for the next series AND was adopted into the game canon by actually being a Gym Leader in the Scarlet/Violet games.

On the other hand...

COME ON, HE IS AT LEAST A FRONTIER BRAIN CANDIDATE

YEAH FUCKING REMEMBER THAT? LAST THING WE KNOW PAUL DID POST-LEAGUE WAS GO OFF TO CHALLENGE BRANDON AGAIN.

WHEN ASH BEAT BRANDON, HE WAS OFFERED A POSITION TO BE A FRONTIER BRAIN.

SO EITHER

PAUL BEAT BRANDON BUT TURNED DOWN THE OFFER BECAUSE WHY BE A FRONTIER BRAIN WHEN YOU COULD BE A GYM LEADER AND IT'S NOT LIKE THE ANIME ESTABLISHED FRONTIER BRAINS > GYM LEADERS OR ANYTHING OH WAIT YES IT HAS

"It’s a group of facilities, somewhat like a Gym, but more intense where you challenge and battle against an amazing group of powerful trainers called Frontier Brains." -Brock

OR

PAUL JUST NEVER DEFEATED BRANDON I GUESS

(also lowkey I really really really would've loved for Paul to meet Cynthia again...)

His behavior in the battle this episode DID have him more in, say, a "gym leader's" mindset, I would say. I'd go as far to argue that Paul wasn't really putting his all into any of those matches with Ash. He really seemed interested in drawing out new powers from his opponent. The few times where he shows something of a reaction during the battles, it's when one of the three new powers/techniques started showing that aura-like flare.

I'm certainly not saying Paul wouldn't make for a good Gym Leader. Given the subtle showings of his growth in the episode, such as Infernape actually following Paul's suggestion; something he wouldn't have done in DP regardless of Paul's prior ownership of him... also, him telling Electivire to play and all that, yeah. That's indicative that he's not as excessively rigid as he was before. Paul has the maturity and discipline to be an excellent Gym Leader; certainly 8th Gym Leader material for sure.

My thing is... this is very much beneath him. If the episode had more time, maybe we would have gotten Paul saying that in his pursuit of gaining power, he realized that wasn't ever going to stop someone out there being more powerful than him no matter what he did.

We could have gotten something like, Paul admitting that his fascination with seeing power really felt the most rewarding when his influence drew power out from his opponents.

Looking at the facts, almost every time Paul and Ash battled in DP, Ash would either get one of his Pokémon evolved or they'd learn a significant new move or ability (or technique). Paul is really good at making Ash dig deep and bring out the best in all of his Pokémon.

It stands to reason that Paul's passion might lie in bringing out the true potential of other trainers; it gives him a better battle to have that improves his own team while simultaneously benefiting his opponent.

With a specific sort of focus like this, added with the fact that Paul has zero type preferences of any sort (all we know is that he really likes powerful 'mons who are as good at tanking hits as they are at dishing them out), that really screams "Frontier Brain" more so than "Gym Leader".

In all fairness, it's never outright said whether or not Paul accepted the offer to become Gym Leader. Which can let me headcanon that while he went to Professor Oak to educate himself, it wasn't necessarily to become Gym Leader. Paul's realizing that he can't rely entirely on self-taught methods to ascend in this way of life. Whatever he becomes in the future, Paul's clearly taking the steps necessary to reach the level he seeks to be.

So while I wasn't really thrilled about Paul being used as the "measuring stick" for Ash's chances against anyone in the Masters 8, at least there's an implication that Paul isn't exactly spinning his wheels, either. Much as I'd love to have him be part of the Masters 8 (no guesses on who I'd have him replacing in that), clearly the powers-that-be did not have that intention from the onset.

Hell, one can argue that Paul becoming Gym Leader is just his stepping stone to reach greater heights. After all, it's not uncommon for Gym Leaders to later challenge, on on rare occasions, defeat and replace members of the Elite Four.

So there's an ounce of hope here. Of course, I don't expect we'll ever actually see Paul in the anime again. Maybe 24 years from now. I'll be lucky to be alive by then!

Paul plz

gawd you're still so tsundere af

BITCH YOU HAVE BEEN IN NO LESS THAN FOUR POKEWORLD EQUIVALENTS OF THE SUPER BOWL

SHUT YO' ASS UP

I'd post more pics/gifs but I ran my limit now

So uh... yeah! Those are my thoughts on the episode. In a vacuum, it's great, had lots of nostalgic potential and at the very least they didn't completely ruin Paul like they EASILY could have. Kudos on the writers for making him show his maturity through his subtle cues rather than making him overtly friendly like the rest of Ash's recurring posse.

I really do enjoy more strategic elements being employed in the battle and the episode overall. I feel like Gengar's Will-O-Wisp especially will be a game-changer for Ash's chances in the Masters 8.

However, I would've really appreciated having more time, maybe not compact this episode with three major events, y'know? I'm sure there's a filler somewhere in Journeys that could've been trimmed out to facilitate this.

Also not thrilled about the prospect of Paul becoming a Gym Leader as it's very much beneath him (unless this is some clever-ass tie in to the games and god is that ever wishful thinking or his stepping stone to reach the top), but I do like that I can infer that Paul's at least found a reason to battle for his own sake now.

Yeah. Remember when Brandon asked Paul why he battles? We never got an answer to that, ever.

So this might be the closest we get: not a Gym Leader aspiration, but a necessary step in Paul's mission to bring power out in others to improve his own style.

Could use some work, but considering I'm almost certain this is all of Paul we're gonna get from here on out, I'm just gonna treasure and headcanon the hell out of it.

[vickyvicarious]

Just as I was about to go to sleep last night, I got a brain flash that went basically "something something flashback episode thiefsome themes???" so now in the light of day let's re-examine. This still isn't anything too polished, but... I think there's some interesting stuff to be found here.

Putting it under a tag so it doesn't clog up peoples' dashes too much, but the gist is that their roles actually represent their relationships/desires at each respective point in canon quite well, and it's giving me some thoughts about what a possible flashback with Hardison/Eliot would look like.

In the van Gogh Job, we get flashback Parker/Hardison. Obviously it wasn't them and the names are different and all but I'm just gonna call them f!Hardison and f!Parker because it's easier.

f!Hardison is brave, clever, determined, and deeply in love

f!Parker is loyal, comfortable, just as deeply in love, but terrified

Their flashback story is a cautionary tale as much as it is a romance. F!Hardison shares so many traits with Hardison himself, and f!Parker is a clear representation of current Parker. They make no bones about it, the parallels are extremely obvious and are even what makes the guy start telling Parker his story in the first place. Parker loves Hardison but she has found a place to belong in the team (flashback town/roller rink) and is afraid of what will happen if she disturbs that status quo by getting into a relationship with him. She's too scared of losing him (flashback to her racist dad/his buddies killing or hurting him, modern to the possibility of death mostly) to take the step to actually be with him, even though they both know she wants to. I love that there isn't any hint of her doubting his feelings or that he will remain devoted in either flashback or modern; the focus is entirely on her own fears for him and how she would handle that, not ever of him in any way.

Regardless of the timeframe, it's clear that (f!)Hardison loves her and will respect what she is willing to give him, even if that means leaving her. In the flashback, f!Parker still loves him and saves his painting in his honor for the rest of her life, remaining loyal to him despite never seeing him again. None of the emotion is in question at all, and it's clear that if she is willing to give it, her faith in him will be completely justified.

The episode basically just acts out Parker's fears (puppet-style?) and demonstrates to her that even though she would be fine if she doesn't take the leap - she'll be so much happier if she does. There's no guarantee of a happy ending, but Hardison is still himself and that means that before that ending comes at the very least, she will be happy. (Much like Sophie's beautiful speech to her.) Parker was already beginning to ease into a relationship with him, and this episode doesn't exactly drive her to jump in headfirst, but it's clear when we watch her reaction to the story what she will choose. She's going to build up her courage, but she's going to take the risk.

.

Now, given how transparent that episode is on their pairing, I kind of wondered what would happen if I look at the one that pairs Parker/Eliot's flashback selves: the D.B. Cooper Job.

f!Parker is understanding, supportive, loyal, and gives him a place to belong

f!Eliot starts out doing something bad for the sake of someone he loves, is drawn to her, and later feels wracked by guilt and seeks redemption by helping others

The focus in this one obviously isn't on the romance. It isn't even on either of these characters, so much as it is on Nate and his flashback self. But the parallels between modern and f!Eliot are still pretty apparent, if a bit watered down in that f!Eliot has no intentions to hurt anyone and in fact takes pains not to do so.

But as far as pairings go, I think what they do between these two is pretty interesting. Their flashback characters are drawn to one another, feel a kind of understanding and recognition that they can't quite explain. It's why f!Parker stops him before he jumps and never gives him up, it's why f!Eliot trusts her in the first place and why he shows up at her door after it is all over. I think this is a really nice parallel to the way Eliot and Parker understand one another and have this connection that is different from the rest of the team.

The other thing I like a lot is that in this episode, f!Parker is the steady support. She represents the home f!Eliot longs to have, even if she isn't the one who eventually offers him the chance to help others and make his own redemptive efforts. In fact, him working with f!Nate starts out for selfish reasons and only later evolves into a place where he feels he belongs. That's another obvious parallel to the Eliot we know, but the Parker in this episode is a little less immediately recognizable. Sure, she's an incredibly loyal person and will obviously not care overmuch about crime or whatever but mostly it's harder to see her as much in that role.

But I think she serves much the same role here as f!Hardison in the other episode. Though modern Eliot isn't hearing this story and making any resolutions based on it, the casting still represents their relationship. Parker is growing steadily into the position of leader/mastermind, and at this point she and Hardison are openly together. She is someone who understands Eliot on a very deep level, and she is coming to be the person who is his rock. While I'm not discounting Hardison's importance at all, Parker more closely fits the role of the person who encouraged him to take the job in this flashback. She's the one who, only three episodes later in Rundown, verbalizes a promise to change together. She (and also Hardison) represent the home Eliot craves to have, the belonging and support necessary for him to grow and to do good in the world. What's more, f!Parker is accurate in representing her side of things as someone who wants that for him. She wants to invite him in, wants to support him even if it's from a bit more of a distance at first (pre-relationship) but would absolutely welcome him inside as soon as he shows up at her door (once he's ready, she will bring him into the thiefsome).

And Rundown shows us that in action, again only three episodes later. Not in the sense of canon thiefsome, but Parker and Hardison are absolutely supporting Eliot leaving his darker past behind, changing with them for the better - and not just getting away with his own hands clean, but doing the extra work to help others (going after the guy who tried to hire him instead of just leaving town; again when they realize how serious the situation is but stay to fix it). The episode even ends with Eliot literally throwing away the crutch that would allow him to walk on his own, and pull them both in to support him instead. He's in the middle, he's deciding to join them even if he could get by alone, it's all representative for them welcoming him into the relationship too. (I headcanon something went down between them here but it isn't all cleared up relationship-wise until the Toy Job, but either way the themes are there!)

.

So with this in mind... The flashback with Hardison/Parker focused on Parker and her fears/decision to enter into a relationship with Hardison. Similarly, the flashback with Eliot/Parker focuses more on him and his desire to join the relationship. For both of them, the episode represents a shift in their relationship with one another, something not entirely unknown before, but a step that is challenging for them personally. Still, this step leads to greater happiness and growth.

All that in mind... what would a Hardison/Eliot episode look like, if we got it in Redemption? I'm getting into slight spoiler territory here, so leave now if you haven't seen the first few episodes.

.

.

Okay, so since we've had more focus on Parker, and on Eliot, this episode would focus most on Hardison. It makes sense as well for his role in the new series, because while Parker and Eliot are a little more stable, Hardison is the one entering a challenging new period of his life that is difficult but helping him grow.

I don't have any kind of full plot figured out, but here are some things I think we might see:

f!Eliot is supportive, confident, and believes deeply in him

f!Hardison is bold, struggles with self-doubt, and upends his own life in order to change the world for the better

I think Eliot's role in this flashback would be smaller, but he'd love f!Hardison deeply and the focus would not be on their relationship developing, but on the challenges it would face as f!Hardison embarks on... whatever it is. It has to be something f!Eliot knows he cannot do, and maybe even something that might mean the end of their relationship (though much like the van gogh job, the love between them is never in question).

I've seen people mentioning a Stonewall flashback episode for these two before, and that's possible. But another thing we could see is f!Hardison working against racist laws or something. Whatever the case, he needs to be doing something that benefits many, many other people, and it needs to put him at personal risk. I'm not entirely sure on what would be holding Eliot back from helping in the same way - it may just be as simple as f!Hardison gives amazing speeches and inspires so many people, while f!Eliot just doesn't have that skill. Maybe he is sick. Maybe, their relationship does end up attracting violence, and he gets hurt (doesn't even have to be their romantic relationship, if we're going a race angle and setting this episode further back, it could just be an open friendship with their romance kept secret. the themes would still be there). Whatever the case, f!Hardison has to leave Eliot behind.

And yeah, this has already happened in canon. We're already here. But if we wanted this episode to happen, I think it would be possible for the themes to still be relevant and the challenge to still be there for Hardison's character, if something brings him back to the team. If something goes down and he isn't there, and it terrifies him that he wasn't there, and he has trouble leaving again even though his work isn't done. Or if he organizes something on his end of the world that goes horribly wrong somehow. Sometimes it's not the first step that's hardest, it's keeping on even after the first big challenge. No road is free of bumps, after all, so Hardison might well think he's fine at first but start having doubts even after things have been going well for a while.

That is where you can bring this episode into play. That's where you start - f!Hardison is already getting involved in activism of some kind, but his own fame brings about negative consequences or something unrelated happens, and it scares him and makes him consider giving his work up. The episode can be bittersweet, with them never reuniting, or it can have a happier ending where he returns and f!Eliot is still waiting for him. But it's important for Eliot to represent a home that Hardison is already comfortable in, and one he has to leave in order to help others (however temporary the leaving is). And we need to see him away from the team, thriving and growing and improving so many peoples' lives in ways that never would have happened without him - both in the flashback, and in the modern part of the episode. In fact, Hardison doesn't even need to actually be physically with the team at all in the modern part of the episode. It can be more like the Broken Wing job, where we get hints at what they are doing but the focus is entirely on him and his struggle.

Of course, I have no idea how this would tie in to a modern heist. But maybe the format could be changed up, if we focus more on Hardison outside of the team. I'm sure there's some way this could be worked. And I think it would do really well in completing the trio of thiefsome episodes, and giving equal emphasis on all three of them in each one.

[shihalyfie]

The differences between Takato and Haru

(This meta was requested by @digitalgate02​, who also assisted me with a large portion of it. Thank you for your help!)

Takato and Haru often beg a lot of comparisons because of the fact they go so against the usual “brash hero” archetype common to not only Digimon but also shounen franchises in general, being significantly more mild-mannered (on a language level, they’re also the only Digimon protagonists to date who use the more polite boku first-person pronoun instead of the more assertive ore). Haru himself even points out in Appmon’s very first episode that this kind of personality would normally be more suited towards a side character than a protagonist!

Because of that, Haru is often considered to be a spiritual rehashing of Takato, and many have tried to make close parallels between the two, but while the desire to make comparison is naturally understandable, the truth is that beyond surface temperament, the two characters actually have very little in common. In fact, both Tamers and Appmon take rather different approaches to their definitions of a “conventional hero”, and that results in both Takato and Haru having very different roles in the plot.

In many cases, the role of a protagonist in a narrative has a deep relationship with what kind of narrative it is in the first place, and especially what kinds of themes it wants to present. For instance, in the case of 02, you could argue that the story is more “about” Ken than it is about Daisuke, since both major arcs in the story are about his fall and reformation, but when you consider the major themes present in 02′s narrative about purpose in life and pragmatism, Daisuke’s way of life and overall attitude are vital elements in relation to them, and it’s why he ends up being the “protagonist” (or, more accurately, the character at the forefront of the story) despite Ken’s heavier connection to it.

Tamers and Appmon have a number of similarities in storytelling, mainly that they’re both “hard sci-fi” stories in comparison to other entries that have stronger fantasy elements, and do have a certain amount of crossover in terms of dealing with AI-related topics. However, the actual “nature” of each work ultimately turns out to be different, and thus impacts how each of their protagonists is presented.

I heavily dislike calling Tamers a “deconstruction” of the monster collecting genre or of Digimon Adventure, mainly because of how much that term has been exploited to stereotype works in a genre as being things they’re not, or less nuanced than they actually are (as one Twitter user aptly put it: “a deconstruction is when I like something in a genre I disrespect”). I absolutely do not care for the idea of claiming that Adventure or 02 were somehow less nuanced or “deep” than Tamers just because they were more idealistic or more subtle about it, because they sure as hell had a lot of deeper things hidden between the lines if you bother to look out for them, and I also don’t like the implication that Tamers exists to criticize Adventure for supposedly being too naive. It is true, however, that Tamers re-examines a lot of Adventure (and 02)’s concepts in a different context; while Tamers isn’t as strong of a theme narrative, and it’s much more difficult to say there's an overarching message that encompass most or all of the series as much, it does indulge in a lot of thought experiments and smaller subplots that wouldn’t be possible in Adventure, and Takato thus has an important position in facilitating those kinds of thought experiments. The overall franchise metaphors of “growing” (evolving) alongside your Digimon (or, at least, something different from you) and the symbolism associated with it are still more than present, so the Tamers way of showcasing it is in mainly presenting the question of how that kind of goal would even be achievable in the first place when things aren’t as clear-cut.

In particular, Takato serves to address how someone who doesn’t fulfill the typical protagonist mold would cope with situations that somewhat resemble those in Adventure, what would happen when a Digimon partner is fundamentally different from oneself, and how one would still be able to grow alongside such an existence. Thus, his own character arc is more relevant to his own personal growth in accordance with interacting with Guilmon and what he gets out of his journey. This is especially because one thing particularly unique to Tamers is how it portrays Digimon as significantly more feral and different in mentality to humans, which means that he had a much higher personal hurdle to begin with, and thus his personal story and what he gets out of it becomes of significantly more importance.

Appmon, on the other hand, very much is an overarching theme narrative and isn’t exactly subtle about it, with one of its biggest questions being about what’s important in a world that’s getting increasingly controlled and regulated by modern technology that’s getting more and more intelligent. Haru is thus the embodiment of Appmon’s answer to that question: “to choose to be kind” -- and the less-than-subtle invocation of the word “protagonist” ends up having a very different meaning invoked in its final episode.

At the very least, on top of both being rather unconventional protagonists, both Tamers and Appmon do start with Takato and Haru both expressing a desire to be more like one who could go on some kind of adventure (Takato’s version isn’t as verbal, but his way of enthusiastically putting on goggles as proof that he’s a Tamer in Tamers episode 2 carries heavy implications of wanting to emulate the heroes he saw on TV).

However, this is where we get our first difference: Takato proudly claims his newfound status as the series protagonist, whereas Haru is unsure and self-conscious about it -- Haru himself is the one who initially considers himself not cut out for the role despite Yuujin personally believing he does and Gatchmon trying to urge him into it. And, in fact, this is actually the difference that kicks off where their paths entirely diverge.

Takato is often said to be unconventional for a protagonist, but when you really think about it, it’s not like Taichi or Daisuke were exactly models of typical protagonist tropes; while you could call them “hot-blooded”, in the end, Taichi’s standout traits have more to do with natural charisma and sometimes even being too chill, and Daisuke, for all he seems assertive, is actually extremely deferential. So why is Takato still such a standout in comparison?

Well, when you look at the detailed profiles of all twelve of the main Adventure and 02 cast, you might notice something: all of them are naturally selfless people who put others before themselves without a second thought. On the other hand, when you look at Takato, you might realize that this is very much not the case, especially during the early parts of the series. As much as Takato is a “soft” person, he’s not necessarily very “kind” or “nice”, especially during the early parts of the series; he can get possessive or clingy, petty, or even a little arrogant (Tamers episode 11 basically has him go on a mini-power trip based on his card combo having worked so well in the prior episode, which ends up becoming part of his isolation from Hirokazu and Kenta in the following one). Moreover, Takato loses his emotional composure and becomes a crying mess as early as Tamers episode 2, and while it’s not like other characters in Adventure and 02 hadn’t been prone to emotional outbursts, combine it with the above facts and you get the take-home that Takato isn’t “soft” out of an active choice to be so as much as he’s just really, really lacking in emotional mettle to begin with.

To be fair to him, Takato has to deal with quite a bit more stress during the early parts of Tamers than Haru has to during the equivalent parts; having to deal with a Digimon partner that’s outright feral at times and doesn’t have a fully intelligent understanding of how to communicate is a pretty rough thing to start off with. That said, Takato is fairly cowardly even in situations that don’t necessarily have to do with this, it’s just that this makes it worse -- but it means a lot that Takato himself is willing to put in that much effort in bonding with Guilmon despite being initially intimidated by what he’d just created, and that perhaps is what’s the beginnings of how he continues to develop that strength of heart for the rest of the series (and also extends to how he’s the one who connects with Grani).

This is in contrast to how Haru is described by Yuujin at the end of Appmon episode 1, in which Yuujin states that Haru is already cut out to be a protagonist because he’s a kind person -- in other words, Takato is someone who is not cut out to be a protagonist of any kind of adventure at the start of Tamers, even though he thinks he now gets the luxury of being one due to the circumstances he’s thrust into, whereas Haru is already someone with the potential to be one even at the start of the series, but initially lacks the self-confidence to consider himself able to be so. Thus, Takato’s character arc involves having to actually grow into someone worthy of the position, whereas Haru’s involves coming to terms with the aspects of himself he already has but doesn’t quite understand yet.

One very important thing to reiterate is that “unconventional” does not necessarily mean “better” by default, and, on the flip side, just because Takato isn’t as virtuous of a person at the beginning doesn’t mean he’s a worse character (after all, these kinds of things are what makes one interesting). Rather, it’s more important to consider why these characters are this way based on the context of the narratives they’re in.

In the case of the Adventure/02 kids, getting twelve naturally kind kids wasn’t exactly accident, nor was Haru and the other Appli Drivers also being that way; said kids have a bit of selection bias in that they were deliberately chosen by various entities (”the one who wishes for stability” and the Agents, the Holy Beasts, or Minerva) knowing that a massive world- or humanity-threatening crisis was on the horizon and quite understandably picking kids who had the greatest potential for the kindness that shouldering the world’s burdens would take (in Adventure and 02 this manifested in having the kids resonate with Crests and Digimentals that represented virtues, and in Appmon this involved Minerva actively testing them). After all, it’s only natural that anyone with the chance to recruit people to help with a monumental task would ideally go out of their way to pick people who seem best suited for the job, whether it’s something as grand as fantasy chosen hero picking or something as simple as job recruitment. But at the beginning of Tamers, none of the involved parties were really aware of any kind of grand, looming threats on the horizon, and whatever the DigiGnomes were thinking (or not thinking) when giving Takato his D-Ark is arcane to us all, and so Takato ended up becoming a Tamer by functional accident, resulting him starting off very poorly equipped for the job and having to learn how to do it on the fly.

This also means that the “motives” Takato and Haru have for taking action at the beginning of the series are accordingly different. Because any concept of “stakes” was not immediately apparent at the start of Tamers, Takato’s motivations for being a Tamer are more self-centered and selfish than Haru’s are for being an Appli Driver at the start of their respective series.

Takato’s motives at the beginning of Tamers really just revolve around “I want to be able to play with Guilmon more and not lose him,” and there’s no indication at said beginning that he’s really prepared for or even understands the part about having to protect others from harm. That doesn’t mean that Takato’s a selfish person to the extent of not caring about others at all -- in fact, by the time of Tamers episode 15, he demonstrates an understanding that they’re not playing a “game” anymore when things get difficult (and even puts his foot down in front of the other kids for it, a huge improvement from his rather cowardly outlook at the beginning of the series), so the issue largely had to do with the fact that the early parts of Tamers didn’t immediately make such high stakes clear, and Takato himself was thus in a situation of not worrying about others because that necessity wasn’t there yet. But even in the same episode, Takato still has a clear motive of wanting to show off his cool Digimon partner to the others and bask in his “status” as a Tamer, and it’s still a huge contrast to Haru who was initially too humble to accept his role as part of such a larger narrative until his desire to “protect everyone” won out. It’s a big deal that Haru understood the stakes that would be involved in the fight against Leviathan from day one, and actively chose to opt in because of his selflessness.

Another major reason for this difference is that Haru has a certain character trait explicitly ascribed to him that isn’t with Takato: Haru enjoys reading books and is actually rather book-smart and intellectual. On a certain technicality, Takato being characterized as not particularly skilled in that department actually brings him a little closer to the conventional shounen protagonist archetype than it does a “bookish” character like Haru, because such a character is often considered too nerdy for the protagonist position -- but in Haru’s case, the fact he’s actively thoughtful and ruminates on things means that he spends a lot of time thinking about “what’s the right thing to do” in a given situation.

For all it’s worth, I really hope that the above won’t be taken as an implication that Takato is a fundamentally bad person for having more selfish immediate priorities than Haru or the Adventure/02 kids do; having to carry the weight of such a large thing is a huge thing to ask of someone, especially when we’re talking about someone who kind of got thrown into this whole mess and has been spending the entirety of this series trying to figure it all out without a lot of reliable sources of help. On top of that, it should also be noted that Takato is ten; if there’s anything that can be said to be not entirely true-to-life with the Adventure and 02 cast personalities, it’s that a lot of the emotional awareness and levelheadedness they exhibit usually come from people much older than 8-12 (it’s one of the “acceptable breaks from reality” employed in kids’ shows that kid protagonists are often a tad bit more mature than actual kids would be at that age, otherwise a lot of said kids’ show plots wouldn’t function), and real ten-year-olds in Takato’s situation would often have more difficulty knowing what to do with such great burdens at this age. It’s actually fairly significant that Haru is 13 and from a group composed mainly of middle schoolers, in contrast to the older series having elementary school kids (the youngest Appli Driver, Astra, is actually the same age as a classic Digimon series protagonist), and thus it’s probably not surprising that they’re more willing and able to deal with such huge issues much earlier on.

Thus, although Takato’s character arc does involve him slowly growing into the role of becoming less shallow and selfish, and becoming more truly assertive while he’s at it, this fundamental difference in their natures ends up continuing to have a major influence by the time of the later parts of the series. The difference can be most starkly illustrated in Tamers episode 35 versus Appmon episode 41 -- in which Takato, upon seeing Beelzebumon kill Leomon, is utterly consumed by his emotions and decides that the best course of action to take would be killing Beelzebumon in revenge, even though this won’t bring Leomon back or accomplish anything productive (and, indeed, it does make things worse in the form of driving his own partner over the edge and traumatizing Juri further). (Adventure had already warned that prioritizing “revenge” over “protecting others” is foolhardy and tends to cause a lot of really nasty problems.)

In contrast, one thing you might notice about Haru is that he never “denies anyone’s feelings”, even when confronting someone like Knight. You could argue that Haru wasn’t necessarily dealing with direct trauma in front of him, but recall that Knight had caused tons of grief and misery for many (something Haru takes serious offense at) and had, along with Charismon, gotten very close to permakilling all of the Buddy Appmon at one point back in Appmon episode 37 -- so it’s not like Haru doesn’t have reason to have grudge against Knight, even if the severity isn’t as immediate. Note that Haru doesn’t “both-sides” this issue; he still insists on making his own case, it’s just that he still doesn’t have it in him to not acknowledge that Knight has a good reason for making the case he does given his background, consider his words to an extent, and fight against the idea of having Knight be killed for no good reason. Haru has a very strong belief in “thinking with one’s heart” and “respecting feelings” that he'd exhibited through the entire series (for example, very prominently in Appmon episode 12 with Rei), and because of that he has a ton of emotional control over himself even taking some very harsh things. It’s clear that Haru does have very deep understanding of what he’s dealing with -- and chooses to be idealistic and kind anyway.

(In addition, because Haru is so naturally inclined to be selfless, the one time he really does hit an emotional low in Appmon episode 49, it’s not anger or lashing out at anyone, but rather sadness and despair. Haru just really does not have the fundamental capacity to be aggressive.)

As said before, Takato’s character arc is very much a personal story of how he grew into the role of a Tamer, via learning to fight for what’s important and have a strong heart for it. As a result, his motives for fighting end up still having a much more personal streak to it than anything -- at the time of Tamers episode 49, technically speaking, the Wild Bunch was still being counted on to work on the D-Reaper problem, and his own family was urging him to stay home for now, but what tipped him over the edge was not some desire to protect people as a whole but rather the fact that Juri was calling for him. It’s not to say that such a thing is selfish -- he’s clearly doing it for her sake, not anything to do with his own -- but nevertheless his involvement was directly related to something that hit a little more personally moreso than it was for the sake of the wider picture.

As said before, this is fitting for someone whose story is really more of a personal character arc before anything else; the significance is more in line with the sheer amount of emotional growth Takato had to go through in order to get to this point at all, and how someone normally so divorced from the concept of heroism could come to do something so meaningful, especially thanks to his interactions with Guilmon and growing alongside him. There’s absolutely no doubt that Takato wouldn’t have been able to do this kind of thing at the beginning of the series, so it’s a huge accomplishment that shouldn’t be watered down. It also makes him a very good foil to the D-Reaper, an emotionless program that’s still fixated on rehashing the same destructive purpose it was originally created for years ago and has long lost its purpose, and while Takato isn’t technically the sole factor in putting it to rest (at most, the most valuable asset as part of the Wild Bunch’s plan), the contrast is quite apparent.

On the flip side, Appmon episode 54 not only involves the exact opposite -- in which Haru sacrifices something closely personal to him for the sake of everything else -- but also ties it very closely to its own series themes, which are assertively laid down in all of their glory during this finale. The reason Haru had been “chosen” by Minerva to begin with, and the reason he himself had been given an opt-in “choice” at the beginning of the series and again in Appmon episode 38, and so many other characters had been given “choices”, is that this story is about choices -- because Leviathan (and Knight, and any kind of “AI should manage everything” argument that this series fights hard against) believes that humans shouldn’t be allowed them, and that everything ought to fall in accordance with a “rational” system. Haru, on the other hand, believes in the human heart that can do unexpected things, and his constant choices to do things out of kindness despite understanding what they entail.

Over the course of the series, Haru hadn’t always been putting himself in a spotlight situation -- in fact, many episodes had involved him saying “we’ll support you!” and generally uplifting others before he’d ever tried to take charge. But in the end, the reason he ends up as the “protagonist” who makes the final choice for everyone’s sake is because he’s the one who understands that gravity of “making a choice with one’s feelings” that’s so vital to changing Leviathan’s mind -- plus, the fact he’d been so supportive and kind to everyone means that everyone else shows up for him when he needs it most. Note that when Astra and Eri are upset at Yuujin in Appmon episodes 48 and 51, it’s not so much out of the overall betrayal as much as the fact he specifically betrayed and hurt Haru, because that’s how much they’ve come to care for him in return.

Hence, why Appmon latently ends on a frame of redefining the concept of “protagonist” -- certainly, on a meta level, Haru became the “protagonist” of the narrative that is Appmon, but what it actually means in terms of what Haru became is that everyone, including the members of the audience watching this series, is “the protagonist of their own life”, meaning that being a “protagonist” is defined merely by said act of “making choices” and defining what your own path will be. And especially in a world where singularity is going to become more and more of a real possibility -- as the show indirectly reminds us, AI surpassing human intellect is something that’s been predicted and warned about in this very world we, the viewers, live in -- understanding this is going to become even more important.

Incidentally, in the end, as much as it might be tempting to try and draw parallels with Takato because both of them are in the franchise-mandated position of “protagonist”, removing that requirement actually brings up a character that might make a much closer parallel -- “making choices that are out of kindness” easily directly invokes a certain other character from 02 who had “kindness” as a huge part of his character arc, doesn’t it...?

Really, if you think about it, Haru has a lot in common with Ken, who’s also thoughtful, intellectual, very in touch with his own feelings, assertive, resilient, strong in heart, and kind out of choice even when he doesn’t have to be -- you could basically say Haru is what Ken would be like if he hadn’t gone through such a massive formative event of trauma early in his life, or, alternatively, Ken if he had a bit more of Daisuke’s more outwardly bright, friendly, and supportive traits. It may not be a comparison you’d be easily tempted to make because, as stated above, as much as Ken had a deep connection with 02′s plot, he’s not portrayed as the protagonist of his own narrative...and, hence, Haru is unusual in that the exact archetype that was formerly placed in the role of the series deuteragonist has now been recast in the role of the protagonist itself. But then again, from Haru’s perspective, it’s not like Ken wasn’t technically the driving force of his own story, right?

(I’m not just drawing this comparison because I usually blog for 02. I promise.)

[thepapergirlandthespiegelman]

Castlevania Season 4: I’m not mad, just disappointed

Season 4 is poorly written fanfiction, which is...better than a lot of things could be, I guess.

Spoilers below the cut.

Content warning: trauma, sexual assault, psychological manipulation

The Gods Have Had a Change of Heart

Or, “Season 3 Blocked and Ignored”

Season 3 felt like the fabric of the universe had been twisted just to inflict additional pain. Season 4 overcompensates in the other direction; trauma evaporates, and good things happen for no other reason than to make our favorite characters happy.

The Season 3 finale left two characters in particular totally devastated: Alucard and Hector. Alucard is violently betrayed in a horrifying sexual assault by the first two people he’s spoken to since Trevor and Sypha left. He ends up killing them in self-defense and puts their bodies on stakes outside the castle, alluding to his father’s habit of doing so and potentially hinting at a turn toward evil. Hector is seduced by Lenore and then enslaved using a magic ring.

Yet at the start of Season 4, it’s as if these things never happened. Alucard is troubled, but not totally devastated, certainly not evil. Taka and Sumi are referenced in exactly one conversation with new character, Greta, in which she says the rather tactless throwaway line, “I had a boyfriend and girlfriend at the same time once. But they never tried to kill me.” Hector is nominally imprisoned, but immediately seems highly agentic, perhaps even more so than before. He studies, lays traps, and makes secret plans with other people. Furthermore, his relationship with Lenore is completely transformed. From falling to his knees in abject horror and despair at being enslaved, he suddenly switches to light banter, in what is apparently a basically okay, mutually enjoyed romantic/sexual relationship. Manipulative, selfish Lenore is now a sympathetic character struggling to reconcile her own role and feelings with Carmilla’s plans.

The events of season 3 happened, remaining canon in the most basic, literal sense. But the emotional weight attached to them has disappeared into thin air.

Not gonna lie, I did breathe a sigh of relief when I saw that Alucard and Hector were okay. I’m soft-hearted! I don’t like seeing characters I like suffer! I mean, conflict is important, and I can deal with (or even enjoy in a certain sense) seeing characters suffer if it makes sense and serves a narrative purpose. But as far as I can tell, the season 3 finale was nothing more than lurid, meaningless violence. I probably wouldn’t have continued watching the show if it devolved into nothing more than finding novel ways to torture the characters.

Still, it doesn’t feel quite right to pretend like nothing happened either. Or, really, not that nothing happened, but that those things didn’t matter, didn’t hurt, didn’t leave lasting scars. That’s...almost kind of worse.

But, I thought, I can sort of forgive this sudden shift in the stars, given that there may have been some sort of change in creative direction relating to Ellis’ decreased involvement with the show.* Plus, season 3 was insanity. It’s not like it was full of great writing choices, so if we quietly ignore some of them, maybe that’s for the best.

*I only later learned that Netflix actually chose to continue with Ellis’ season 4 scripts. It is not lost on me that maybe Ellis doesn’t know how to write about the lasting effects of traumatic sexual experiences or how power dynamics can make a sexual relationship problematic because he doesn’t understand that those things exist.

Characters Being Nobody and Nothing Happening

Pretty Pictures, Not Much Else

Unfortunately, the disconnect between seasons 3 and 4 isn’t the only problem with this season. Although I felt that season 4 was a bit less boring than season 3 (I particularly enjoyed some of the earlier episodes of season 4), it suffers from the same basic problems of Characters Being Nobody and Nothing Happening.

None of the characters experience any significant development, let alone any sort of coherent arc. Sypha has changed slightly, becoming more rough and jaded. I did really like the scene where she talks about becoming the kind of person who says “shit.” I think it really speaks to how entering into a relationship with someone means taking on aspects of their lifestyle, and how that can change you in ways that you can’t predict and therefore can’t exactly “agree” to. Sometimes those changes are good, sometimes they’re bad, sometimes they’re neutral, and sometimes it’s difficult to know. But you have to accept that you’re sacrificing some aspects of the person that you could have been if you chose to live completely independently, or with someone else.

Trevor really hasn’t changed since season 1 when he first decided to take up the mantle of hero again. Likewise with Alucard. Hector and Lenore change, as previously noted, but that change is sudden, jarring, and occurs completely off screen in between seasons 3 and 4. Carmilla dies as exactly as she lived: bitter, angry, and violent. Saint Germain just kind of...gets fucked over in a nonsensical subplot, which is its own whole can of worms.

We also get several new characters in season 4, none of whom have developed personalities or motives, nor do they develop any of those things over the course of the season: Greta, Zamfir, Varney, Ratko.

And nobody. Does. Anything.

Trevor and Sypha spend the entire season trying to explore and aid Targoviste, which comes to absolutely nothing. They’re unable to help anyone, Zamfir dies, and they end up just jumping through a magic portal to the actually relevant subplot in the finale. Carmilla literally does little more than draw maps until she’s ultimately killed. Hector plays a minor role in Saint Germain’s extraction of Dracula from Hell; otherwise, he and Lenore basically just exchange banter. Saint Germain does sort of do some stuff? But it’s often unclear how he’s made his connections, who the people who are helping him are, or what exactly he’s doing in terms of his magic beyond “whatever it takes to get back to his lover.”

Sure, there are fight scenes, but they feel meaningless. There’s no context, no stakes. There’s also a LOT of dialogue, and it is. Not well written. Exposition is embarrassingly clumsy at times, and the philosophical musings are cliche at best, muddled and confusing at worst. There’s just not all that much going on.

That is, except for Isaac. But more on him in a second.

What Kind of Show Is This?

When the plot line adapted from Castlevania III: Dracula's Curse ended with season 2, the show struggled to establish a new identity.

Despite nominally dealing with themes like whether humanity is inherently good or evil and how to cope with wrongdoing and loss, seasons 1 and 2 ultimately boiled down to a pretty generic action-adventure/fantasy plot with found family/power of friendship elements. Main characters Trevor, Sypha, and Alucard don’t really wrestle with big philosophical questions or suffer any major defeats. They know that they have to take down Dracula for the good of the world, and they work together as a team to do it, with a little character development relating to their various backstories sprinkled in.

Then season 3 happened, and things got weird. The trio is broken up for what feels like a pretty trivial reason—Alucard has to protect the castle and Belmont hold, I guess? And the result of that decision is that the dynamics for the three main characters are completely unbalanced.

Ellis openly admits that he basically went feral with the writing of season 3, and it shows. The messaging in seasons 1 and 2 was cliche, but consistent. The message of season 3? Anyone’s guess.

Season 4 reversed the darkening of tone from season 3, but shares its inability to pick a story and tell it.

Isaac is the Main Character

Always has been.

While I can’t say that his character or arc are perfect, I can say that he actually has a character and an arc. He starts off motivated by his fierce loyalty to Dracula, then has to struggle to find his purpose once Dracula is gone. He goes from subservient to agentic. He goes from fully endorsing the genocide of humanity and not caring about his own life to seeing some worth in humans and genuinely wanting to live. He has an interesting moment that deepens our understanding of what night creatures are, while also serving as an exploration of the meaning of one’s fundamental nature. Most importantly, these changes happen naturally over the course of the show. They never feel forced or out of the blue, and while I feel like even more could have been done with Isaac’s character, there’s a lot to appreciate about what is there.

If there’s any thread holding Castlevania as a single, coherent work together, it’s Isaac. Not only is his character the best executed and the most coherent over the course of the show, his character explores themes that are larger than himself and relevant to the show as a whole, like those mentioned earlier: misanthropy versus a belief in the value of humanity; the ability to go beyond one’s “nature” or initial circumstances; and how to respond to being wronged or losing something important to you. Exploring the individual lives of characters is great, but really good writing usually requires going beyond that to reflect on broader questions and ideas. Isaac is the only character here that serves that larger purpose.

Sorry...I Just Don’t Buy It

The season 4 finale is crazy, although in a different way from season 3′s.

Varney being Death makes no sense on several different levels. I’m not going to spend a lot of time picking that particular plot twist apart, but I will talk about why I think it doesn’t work at the largest scale, and how I think season 4 might have been done better.

Last minute twists with zero foreshadowing are rarely a good idea, and this is no exception. Why introduce this “Death” entity at the last minute to be the most important battle of the season? The finale of the entire show, even? Besides the lack of logic or emotional buildup, this robs the show of the opportunity to make use of the antagonists that it already has. Since Dracula died, Carmilla has been the obvious choice for a new big bad. Why hasn’t she done more?

Season 4 feels crowded with characters and plot lines that amount to nothing. Why not bring some of these characters together? If Carmilla is the main antagonist, how come she never meets any of the protagonists (except Hector, who is a pretty minor player in this ecosystem) or even affects them in any way?

Season 4 feels like maybe it was trying to make something out of season 3 and the model that it presented, but it ultimately fails to do so. The writers throw the trio back together at the end anyway, so why not have them rejoin sooner and work together? Maybe Sypha and Trevor’s past experience with Saint Germain could have helped Alucard and Greta piece together what he was plotting sooner, rather than all four of them being completely blindsided by it in the penultimate episode. (Sypha and Trevor know that someone is trying to resurrect Dracula, but they fail to find out any actual detail about the plans, despite their supposed attempts.) Have characters actually do stuff, figure stuff out, advance the plot!

Likewise, maybe Carmilla becomes aware of Saint Germain’s scheming, sees it as a threat, and tries to take him down. Maybe she tries to get involved and somehow use alchemy or the Infinite Corridor to her own benefit. What does it look like when power-hungry Carmilla, who wants to rule the world, finds out there’s an entire multiverse out there? That could easily set her up to be a foil to Saint Germain, causing him to realize that what he’s doing is wrong.

What actually ended up happening in the show feels disjointed and often empty. In particular, most of the events that happen in the last two episodes just don’t really work for me. I didn’t like Trevor suddenly sacrificing himself to this random, new, super powerful enemy, or how the gems and dagger that he found just happened to be the perfect weapon to kill this new enemy, or how he inexplicably returns from the dead.

This kind of thing is what I mean when I say that this season feels like fanfiction. Trevor comes back from the dead for no discernible reason other than that it would really suck if he died. Greta as a character seems to literally only exist to be Alucard’s girlfriend and support him so that he doesn’t have to continue to be alone and potentially turn evil. Alucard’s trauma from Taka and Sumi and Hector’s trauma from Lenore are both conveniently erased. Even Dracula and Lisa are resurrected somehow and get their happy ending. And it’s like, I guess I prefer deus ex machina to the opposite (Does that have a name? When everything is going well but then something terrible happens for no reason other than to make things worse for the characters?), but they’re both bad writing.

God. This isn’t even getting into what happened with the Council of Sisters. And I don’t even really like those characters, but that doesn’t mean I want to see their characters handled poorly.

I’m not sorry that I watched until the end, but I can’t in good faith recommend the show as a whole. If you’ve yet to watch Castlevania, just stop at the end of season 2. While there are some shining moments in seasons 3 and 4 (4 more than 3), it’s just really not worth it.

[mittensmorgul]

As Above, So Below

I’m still trying to pinpoint exactly why the focus on “heaven is fixed and actually a paradise now!” is just so deeply unsatisfying to me. And I think I need to preface this with a bit of backstory about me, because I think that gives the rest of this essay some relevant context.

I know this isn’t relevant to my main point here, but this is a metatextual and thematically identical example of the exact thing I’m gonna lay out, because context is always helpful. So please forgive this seemingly irrelevant detour, because I promise it will be relevant by the end.

(plus, would it really be an Essay By Mittens™ without at least one baffling tangent? no, it would not!)

Tangent time!

I think everyone that follows me knows how skeptical I was... or should I say how WARY I was of the way Eileen was returned to the narrative this season. We were warned in the PREVIOUS EPISODE how much Chuck was attempting to interfere in their lives. I was accused of some very nasty things, of hating the ship, or hating the character of Eileen, or of hating Sam and not wanting them to be happy. No amount of pointing at obvious warning signs in the text, no amount of yelling about Sam’s God Wound or the absolute klaxon warning that the wound had become “quiet” and his Chuck-O-Vision Nightmares had apparently stopped seemed to matter. I was declared “wrong” and told to shut up.

And then 15.09 happened, and basically everything I’d been wary of was shown to be what actually happened, but there were still unresolved issues. Eileen doubted her own feelings and walked away. She doubted what was actually real. And at the time, I said many times that I would be thrilled to see those issues resolved by the end of the season, and for her to truly know that what she’d felt growing between her and Sam was real. And by the end of the season, despite my personal horror at her previous situation (and having that personal horror compounded by the fandom literally gaslighting me and attempting to bully me into ignoring this basic actual plot detail of this specific growth process which... in the context of what my personal objection was to accepting her return at face value in the first place having been personal trauma associated with gaslighting and manipulation...) by the time 15.18 aired, I was 100% convinced that Sam and Eileen had fully chosen each other, and felt the traumatic pain Sam suffered during that text conversation with her during the snap. She NEEDED to come back, because she had been set up to be part of Sam’s Win. They were clearly each other’s future.

The show literally put in all the work to make even *me* feel this to be True and Right and Good. And then after that point we never even hear Eileen’s name again. We never were told that she was even returned at the end of 15.19. Sam, who had been so entirely devastated by her disappearance in the previous episode that he couldn’t even process it was apparently hit with an amnesia hammer and just... never even thought about her again through a long greyscale life with a blurry baby Dean factory vaguely in the background of a single scene of his life. I can’t credit or justify how after an entire year invested in making us all truly care about Sam and Eileen and the happiness they found in each other if only the cosmos would allow them to choose each other in the end would just... erase all of that in the series finale.

Which brings me to the second tangent, which is specifically about *me,* and how I feel about the cosmic order in the television show Supernatural. Because I feel a lot about it. Probably more than most people ever did. And this is also important to understanding the main underlying point I need to make here.

Something I’ve been most looking forward to, for YEARS, about Supernatural eventually ending someday was writing a book, or a thesis, or even just organizing and compiling all my observations into a cohesive narrative specifically about the cosmology of the Supernatural universe. I’ve been cobbling together my observations and realizations about the nature of heaven, hell, purgatory, the empty, the alternate universes we’ve seen, and yes, even the cosmic function of the mundane level of the story as told by events that transpired on Earth. So of everyone watching this dumb show for the last 15 years, I don’t actually know anyone who cared more that I did about finding a satisfactory resolution and transformation of every plane of existence-- the mortal world AND the “afterlife realms” we’ve experienced on this show. And in the wake of the finale, I feel cheated out of that. Because in the end, it wasn’t about the triumph of free will and a flip of the script, it was just more of the same.

And now that I have those two preliminaries out of the way, I’ll finally get to the point. :’D

(hooray, it didn’t even take 1k words to get there for once!)

The “main stage” of Supernatural has always been Earth. It’s always been “Humanity.” At the very start, we meet two men whose lives had always been dictated to them by higher powers. At first, that “higher power” was their father who raised them in his vengeance mission, who trained them to hunt the supernatural. It was the inciting incident of the entire series, after all, their realization that forces outside of their control had irrevocably altered the course of their lives. It had forever torn down what they’d trusted in family, in personal safety, and would become something they couldn’t outrun or fight back against for long before another wave of cosmic discord would settle over them once more.

We watched this story play out in ever increasing spheres of cosmic significance, until Gabriel laid it out on the table for them in the simplest possible terms (in 5.08).

GABRIEL: You do not know my family. What you guys call the apocalypse, I used to call Sunday dinner. That's why there's no stopping this, because this isn't about a war. It's about two brothers that loved each other and betrayed each other. You'd think you'd be able to relate. SAM: What are you talking about? GABRIEL: You sorry sons of bitches. Why do you think you two are the vessels? Think about it. Michael, the big brother, loyal to an absent father, and Lucifer, the little brother, rebellious of Daddy's plan. You were born to this, boys. It's your destiny! It was always you! As it is in heaven, so it must be on earth. One brother has to kill the other. DEAN: What the hell are you saying? GABRIEL: Why do you think I've always taken such an interest in you? Because from the moment Dad flipped on the lights around here, we knew it was all gonna end with you. Always. A long pause. SAM and DEAN look down, then at each other. DEAN: No. That's not gonna happen. GABRIEL: I'm sorry. But it is. GABRIEL sighs. GABRIEL: Guys. I wish this were a TV show. Easy answers, endings wrapped up in a bow...but this is real, and it's gonna end bloody for all of us. That's just how it's gotta be. ***

And isn’t that all even 1000x more painfully ironic that it all still happened even 10 years later? It was always going to end with them. And lol, “I wish this were a TV show” because if it was then it wouldn’t have to end bloody.

But this… was a Major Acknowledgement that the meta level of this story was consistent, and was telling us something important. It demonstrated that the Cosmic Structure Itself was the cause for Sam and Dean’s “destiny” in this story. But that’s not what the point of this story has ever been.

Nobody (including me, who is literally obsessed with this aspect of the story) has ever invested themselves in the narrative of Supernatural because they cared about the fate of the cosmic order over and above the fate of the characters who had committed to overthrowing it all, to “tearing up the pages” and writing their own destinies. I mean, we became invested because Sam, Dean, and Cas as characters took us by the hand and invited us to come along with them as they battled against fate for the good of EARTH and HUMANITY.

And certainly, Heaven being a horrific sort of eternal replay of the “highlights” of individual souls greatest hits, where free will didn’t apply as everyone was just boxed away into their individual holodecks to serve as some sort of giant Heaven Battery powering the furtherance of this narrative, this “cosmic order” that had become so powerful it dictated the events and manipulated the lives of people who still existed in the ostensible realm of free will and human life on Earth… that couldn’t stand in the end. But what the narrative (and people I’ve seen attempting to justify the finale as narratively sensible) seems to have forgotten was that all of that was Chuck’s construct to begin with. That without Chuck holding his kingdom in Heaven together, the walls of all those soul cubicles ceased to even be relevant.

After spending their entire lives to this point constantly fighting their way to the absolute pinnacle of the As Above, So Below narrative and pulling the plug on the original creator himself, Humanity should’ve triumphed. And I’d argue that it DID, through Jack restoring the missing essential “humanity” to the divine condition. And, silly me, I thought they’d achieved the promise of “paradise” heralded by Jack’s birth at last, and truly “flipped the entire script of the narrative.”

Ever since they thwarted the original apocalypse, I had hope that they would continue to achieve the same result right up the ladder. Metatron trying to fill the role of Chuck Junior hit his own narrative wall in TFW, while Dean’s battle with the Mark of Cain, and Cain telling him he was “living my life in reverse” and would succumb to destiny by killing his loved ones in the “reverse order” to Cain’s own path to downfall cemented this for me. Dean not only failed to kill any of his loved ones (you didn’t kill your own brother. why?), he SAVED them. He didn’t fulfil the prophecy in reverse, he subverted it. He UNMADE it.

Perhaps I was thinking on too grand a scale, that the ultimate inversion wouldn’t be “God is overthrown and replaced by more of the same,” but “God is overthrown and the entire order of the universe is restructured from the bottom up rather than the top down.

I’d hoped against hope that the conclusion of the narrative would be “As below, so above,” with the fundamental power of human love becoming the new foundation of the cosmic order. It never even occurred to me that “taking back the narrative to rewrite it for ourselves” was not the ultimate goal of Team Free Will, or the ultimate expression of their biggest win.

This whole “well heaven really needed to be rebuilt, there was still work to be done!” seems… irrelevant to me if they’d truly won free of the cosmic narrative. The entire structure of the universe-- including Heaven and Hell-- should’ve defaulted to the paradise state that Jack was literally born to bring to fruition. Wasn’t that the point of his entire role in the story, ultimately?

And if that wasn’t the case in the end, why did we never learn the fate of Hell? Was it just… irrelevant and unchanged after this? Or just… abandoned as a concept entirely? It’s just strange to me to put such a focus on heaven being the sole sphere of import in the end that it undercuts the essential humanity of the narrative for me.

The story itself had kept Heaven on a back burner for years, only occasionally mentioning that the structure of the place was falling further and further into disrepair with a dwindling force of angels struggling to keep the walls in place at all, that it seems like it could’ve been an afterthought at the end of the series rather than a focus so large it required the death of both main characters to make sure we all understood that Heaven Had Changed Now. Because TFW had never been fighting to make Heaven right. They’d been fighting to save the world itself, for humanity to all have a chance to live their lives as their own.

And we didn’t need to see that in the final hope they might get their own lives on Earth to explore. In the end, the fundamental narrative that Life On Earth was dictated by the cosmic structure of creation was never fully subverted. And for me, that’s the main reason I just… can’t accept the finale. It wasn’t a victory of free will and humanity, in the end it was just more of the same.

I appreciate the attempts to take the essential bones of the story we did get and apply a different polish to the surface of the skeleton, but to me it still feels like we’re looking at completely different beasts in the end. Like… to me this was as jarring a revelation as those drawing of modern animals reimagined as dinosaurs entirely based on their skeletons. Like, all along the narrative told me I was looking at a swan. They told me this skeleton they’re building out from is definitely a swan, without a doubt.  I know what a swan looks like-- a graceful feather-covered bird with magnificent wings. I trusted that in the end it would be at least remotely swan-looking. And then the finale ended up looking like this

and I just don’t even know where everything went so wrong. Or maybe all along I just assumed they actually knew what a swan looked like, but weren’t sure they could actually pull it off and settled for whatever the heck this is instead. Either way, I’m actually kinda grateful to the finale for being so entirely disappointing on every level, because otherwise I probably would’ve tried to adopt the monstrosity of it anyway. And I’m really, really glad I don’t have to.

[laufire]

If you ever do want to elaborate on main character clarke I would be so ready ❣️

ldeally, I would like to rewatch the show (seriously, I’m very curious about how I’ll look at the narrative as a ~whole. Especially vis a vis Clarke’s role in it). But I don’t know when that’ll happen, and I guess it’d be a bit rude to have this ask sit on my inbox for the next five years LOL.

This would be regarding my tags on your post, about how I react to Clarke’s description as “most main character” with “yes and no” lol.

On the one hand... yes. She’s always at the centre of everything, one way or the other. Sometimes in very unflattering ways! For example, n season 5 or when she fucked up in the series finale and was officially labelled Worst Human Being Ever. Sometimes it happens in ways that actively diminish her character! (UO, but I don’t think her season 6 plot was “good” for her at all lmao. Possession and personality-changes like those are character-killers by definition. They make them less “especial” and less “themselves”). But although she lost narrative importance over the years (the first few seasons wouldn’t have Clarke-less episodes, period. It wouldn’t occur to anyone to write such a thing), she retained central character status. It’s just that what central status meant changed during the show (more on this in a moment, but basically: sometimes it meant she was the Chief Fuckup xD).

BTW, and this is important and something I actually really appreciate about Clarke’s narrative: she was always treated as the lead when it came to her romantic plotlines.

I’ve complained about this over and over, but female lead stories have a tendency to undermine the lead’s romantic preferences in a way that almost never happens with a guy, with some lesser character (in the sense that they’re not the lead, and anyone after #1 is “lesser”) inserting himself into her narrative, pursuing her, stalking her and accosting her until she says yes.

When I compare it to so many of the shows I’ve watched in the last few years, I’d say it’s pretty rare this never even came close to be a possibility for Clarke. I know there are a lot of negative opinions about Flarke, but one thing I never doubted is that Clarke was Into Him, and I thought their storyline got a lot of genuine emotion out of her. I personally think the scene/episode where she mercy-kills him is one of the best for her in the whole show. And ofc, my opinion on Lexa aside (zzzzzz and ¬¬), Clexa was always treated as a Love Story in ways that elevated Clarke’s narrative instead of hindering it. And after that? No romantic pressure on Clarke. Especially not from male characters.

Now, and this ties to the “no”: I think the reason there were no romances for Clarke after that is because there was no interest in giving her romances, and that this reflects a lack of interest in Clarke in general. But in a way it worked out in her favour, so *shrugs*

Now, regarding “central status”. What being the main character meant for Clarke obviously changed from season to season. She was the most specialest evah princess in season 1, with Finn throwing away his long-term relationship for her, her high-class status setting her apart, her medical skills being relevant in a way that disappeared in later seasons, the narrative always backing her moral decisions, etc. etc.

I’d say season 2 took this even further (there’s a reason why I find it so annoying!), but also that Finn’s death was a hit on her status, as he was such a big part of her elevation in the narrative. It wasn’t noticed at first (just like Wells’ death was IMO another hit, but a much minor one), because Lexa came in to maintain her Important Status in a different way.

So I’d say Lexa’s death was the most obvious “hit” she took, in the sense that after that, Clarke was out of people who put her first above everyone else. Even Abby’s plot tended to move from Clarke at this point: in season 4, she chose to help Bellamy, going against Clarke, so she could save Kane. I can’t picture s1-2 Abby doing something like this.

In general, with season 4 her status crumbled when she was left to die by Bellamy & Co. That, again, was a thing that would’ve NEVER happened to early!Clarke. That kind of thing never happens to leads with strong status. It’s unthinkable! They must remain the priority of those around them!

All this was carried into season 5, where I’d say “Bellamy’s” narrative was doing a good job of fighting and triumphing over hers. He was portrayed as a Leader who cared about His Family, given new warrior skillz that even gained him the respect of Indra, etc. etc. But in season 6 they both took hits, and as we know, season 7 and BTS stuff conditioned Bellamy’s narrative. Clarke’s might’ve benefited from this somewhat, I’m not sure. But I think the benefits were mostly lateral; Murphy, especially, already had his own narrative “parcel” from back in s2/3 with his Romantic Hero upgrade, and in s6/7 he really took advantage of the power vacuum, so to speak xD. Echo benefited as well.

And like I mentioned, by the end, although Clarke had “main character” status, it wasn’t a very flattering one. She was labelled The Worst by an omniscient entity, her child decided to leave her, she had no exciting prospects looking ahead... it’s an endgame that deviates from both Triumphant Big Damn Hero endings and Tragic Hero endings. It’s, simply put, Not A Hero Ending LOL.

So. Yes and no. Yes and no xD

[impalementation]

if you're interested, i'd love to hear your thoughts on That scene in empty places, bc the way that i've seen most people talk about it doesn't always feel very nuanced and like... i get being frustrated and i for sure think some extremely unfair things to/about buffy were said, but i don't think it's as cut and dry as buffy being totally blameless (even though i love her) and everyone else (particularly the main scoobies, who don't have her responsibilities but have fought alongside her and earned the right to disagree w her imo) being terrible. Like it may have gone too far?? But idk, I have trouble articulating why, but I think there's more nuance to the situation than people want to say, so I'm curious about your thoughts

Anonymous asked:

whats your take on empty places and the scoobs kicking buffy out of her house?

Anonymous asked:

Why did Buffy allowed Dawn to kick her out in Empty Places?

Wow, so many questions about “Empty Places”! Sorry, as ever, that these took me a while to get to.

I actually agree, I think there’s more nuance there than it’s given credit for. I talked about that a bit in this post a while back. I wouldn’t say that the character build-up to that scene is as well-executed as it could have been, but it hardly comes out of nowhere, and it’s not some random thing. Or, as I’ve seen people suggest, simply there to make Spike look good and push him and Buffy together. I’m sure their romantic arc was a factor in the storytelling, but to call that the only motivation seems to me a vast oversimplification and dismissal of ideas that were built over the course of the season.

Season seven is, as I’ve discussed before, about how the Slayer system is broken. It’s a system that isolates Buffy and puts all of the decision-making in her hands. Meaning that it’s a system that is neither good for her, nor good for anyone around her, no matter how strong and brave Buffy is. All season long, we see Buffy struggle with both the limits of her power, and the demands of her authority. She wants to be able to save every girl, and fight every ubervamp, but she simply can’t be everywhere and stronger than everything. She wants to be a caring friend, but when she’s the one who has to make decisions about whether people should live or die, she can’t always be. When she’s the one who has to make all the hard choices, that means the blame always falls on her shoulders. When she fucks up, there’s nothing for her to fall back on. The fact that Buffy is forced to be this kind of sole authority means that the people around her are right to feel that they aren’t being listened to, or fully considered. Because often they aren’t. They see the people around them getting maimed and killed and suddenly realize that maybe it isn’t right that all their eggs should be in Buffy’s basket. But at the same time, they’re wrong, because they’re the ones who put their eggs there. They’re the ones who kept looking the other way as Buffy made hard choice after hard choice on their behalf. They’re as complicit in (and victimized by) the broken system as Buffy is.

Keep in mind the season’s perception themes. Everyone gets mad at Buffy, and Buffy gets mad at herself, because they’re all too close to the situation to see that the problem isn’t really Buffy, it’s what being the Slayer has forced Buffy to be. The dynamic it’s forced between her and the people around her. Notice how in the very next episode, Faith finds herself dealing with the exact same problems that Buffy was. The same hard decisions, and the same ambient resentments. It’s actually very important that Faith has to be a leader for a bit, in order to show this--the fact that the problem is being the Slayer, not Buffy. I’d even argue that it’s the much more thematically relevant motivation for the scene than getting Buffy and Spike alone.

As far as thematic motivations go, I also think it’s crucial that Buffy is thrown out of her house. That is some powerful symbolism for a season that leans so hard into the symbolism of Buffy’s house in general, and it’s disappointing to see people ignore it in their eagerness to be mad at everyone. The house is a lot of things—the familiar, the stable, the normative, the safe—but most importantly it’s also Buffy’s self. Notice how Spike and Faith, both Buffy’s shadow at different times, hang out in Buffy’s basement: the realm of the id and subconscious. Notice how as the house breaks down, Buffy gets injured as well.

So for Buffy to be thrown out of her house, it’s the climax of the season’s isolation themes not just in terms of story, but also metaphor. She has literally been cast out of herself. She’s been banished from her identity and role. But at the same time, once she’s on the outside of that myopic, claustrophobic system, she is able to connect with her shadow (Spike) and see the situation with new eyes. The reason that Spike is the one who can talk Buffy back is that firstly, unlike the Scoobies, his later seasons arc is all about learning to not ask Buffy for things that aren’t appropriate--romantic reciprocation, moral structure. Secondly, he was once the tool and symbol of her isolation, the icon of her shame and guilt and belief that she needed to isolate herself. For her to make peace with Spike is about her rejecting that isolation and shame, and transforming it.

Of course, I can talk about symbolism all I want and it doesn’t necessarily matter if the writers didn’t make it believable on the object level too—the level of character and plot and all of that. It’s a regular problem on Buffy, the writing caring more about symbolism than sense. While I think that most of the characters have adequate motivation for the scene—really, it’s been building from the beginning; remember the confrontation between Buffy and Xander as early as “Selfless”? or Buffy fighting with Giles and Wood two episodes earlier? or the way she argued with everyone in “Get It Done”? or the Potentials doubting her from basically their first episodes?—the one character that seems truly undeveloped is Dawn. She got that warning from the First in “Conversations With Dead People”, but the season doesn’t follow up on it well enough to draw a clear line between that seed of doubt and her attitude in “Empty Places.” Given that Dawn is Buffy’s “humanity” or “youth” or what have you, it’s symbolically significant that she would be the final one to cast Buffy out. But that seems like a clear case of the story not earning its metaphor, unfortunately.

To answer the third ask: as far as why Buffy let Dawn kick her out, on a character level I think she was pretty defeated by that point. But symbolically, I think the part about Buffy’s human self rejecting her is important for that. Buffy has a tenuous relationship to her belief in her humanity at the best of times, so it’s pretty easy for me to believe that she would feel lost and numbed enough by being rejected by that part of herself, that she wouldn’t fight it.

(Controversial opinion, but I actually kind of like that “Empty Places” isn’t due to the First sowing obvious discord. I’ve seen lots of people suggest that that would have been the stronger and more believable choice, and I get the instinct. But if the point of the season is to show that the villain is the Slayer system, then it makes more sense for that to be the thing that drives the conflict, and not an external force influencing them. There might have been a way to use the First that was compatible with that, but it wouldn’t have worked if the problem was just The First. Imo, of course.)

All of which is to say, that if you see the season as being about faulty perception, broken systems, and the dangers of isolation, then “Empty Places” actually makes perfect sense as a climax of the season. The problem really comes down to whether you think it was earned enough (which in some cases I think it was, and in others it wasn’t), or generally handled well, and whether you think those ideas are interesting in the first place.

[chicoriii]

Season 4, Episode 14 - Sentibulleur (Sentibubbler)

I just seen the episode today, because I wasn't looking forward for another Alya-centric one, I'm already sick of it. I did it only now when have more free time. It's the first time, since I'm a Miraculous fan, when I'm starting watching a completely new episode without feeling even a bit of excitation. I'm not gonna lie that I enjoyed it, I don't, because it's not my cup of tea. This is why this post is more about why I dislike Alya favouritism than Sentibubbler itself. But I need to clarify that I didn't enjoy the episode mostly because of personal taste, I'm not trying to say it's "objectively" bad (though opinions are never objective, only facts could be). If you love Alya's arc, it's completely understandable that you probably love this episode as well.

I thought it would be a DjWfi episode (to be clear, I haven't seen any trailers of it, only one screenshot, which was said to be from this episode, but I don't remember seeing that moment in it at all, and the ending card), but poor Nino was just a background character. This is literally an "Alya is amazing" episode in which she is saving the world with a very little help of Ladybug and even less of Chat Noir, who is treated more like an offending trash. After watching it, I see fan edits like that are even more accurate to describe season 4 (not made by me, I just stole it from Cartoon Apocalypse's video).

Adrien was supposed to be a deuteragonist and a second main character, but Alya is much more like ones than Adrien has ever been. He has never gotten as many episodes focusing on him as much like those with Alya in a season (and we can be sure, it's not the last one) and he has never be as much the main hero in a fight against villains in any of them. Instead of giving him more screentime, he's putted even more in the background than before, because Alya needs to shine. Why they can't do it without treating Adrien that much unfair? I'm not gonna hide that I hate it and it makes me feel that maybe I should stop watching the show, since it looks like it's not something I really enjoy anymore. Adrien is my favourite character, so I'm really pissed of that Alya is stealing his role. We will see, but once I will be sure that Alya favouritism is gonna last forever, I would consider stopping watching the show seriously. Especially that doesn't go hand in hand with good writing. In this episode nothing as much absurd like in Optigami happened, but I still have one big issue.

It's not a problem with Alya herself. I'm used to like her, even if she's been annoying me sometimes before S4. But I don't know what to think about her this season, since I have some issues with her writing. I just don't like the idea of as much favouritism any of the characters who are not the original main ones, especially if Adrien is treated that bad by the writing at the same time. I would say the same if it was Kagami, who is my third favourite character in the show, after Adrien and Plagg. As you see, I like the Japanese girl even more than Marinette, but I still don't think that making her more important than the protagonist would be okay (it would make no sense, but you know what I mean).

Besides, I've seen people speculating that Alya is going to fuse the fox with ladybug Miraculous in an episode in which Marinette is akumatised (if one will ever happen). Don't you see how much unfair to Adrien/Chat Noir it is? Alya is already getting much of special treatment, more than a character who was supposed to be the next most important one after the current Guardian of the Mother Box. An episode with Marinette as an akuma should be the one in which Chat Noir is saving her without help of any other heroes, just like she has saved him alone in Chat Blanc. If there was a fusion of the fox and ladybug, it would mean that's not a story mostly about Marinette and Adrien anymore. It would make it clear that the writers are not even try to hide the fact that's now it's Alya the second most important character. Adrien could be the third one at best, Chat is only a sidekick of the Ladies, not really a hero equal to Ladybug anymore. Besides, episode like that is most probably the only chance to see Tikki using her power without a wielder. Wouldn't it really interesting to see what bad happens when Tikki is using Lucky Charm all by herself?

And to be fair, this season has really way too much Alya generally, I'd like to see more other heroes, not just Rena Rouge and Rena Rouge over and over again. I want more new Miraculous wielders and since Ladybug is calling the old ones (though she definitely should not do it), I want to see them in action too. We need to get a full transformation sequence of Ryuuko at least once. But the more episodes they are released, the less I believe it would ever happen. Good thing that they found few seconds to show Chat's sequence (only a second time in 10 episodes!), but still no Cataclysm. I wonder if they are even going to show it after season 3.

I have no idea what writers are planning to do. If they're want Alya to be a permanent Miraculous holder who is treated like co-guardian by Marinette forever, why they write her that way? Why isn't she really noble and careful? Why all those red flags she's giving Marinette (those she always ignore anyway): like letting Mr. Ramier know that Ladybug's the Guardian now, though she asked her to keep it as a secret, or stealing a Miraculous that almost made Ladybug's identity exposed. Are any of those events be relevant later? Are they there to show that saying Alya everything about the Guardian things and giving her the fox Miraculous permanently are bad decisions? If yes, what's the purpose of Sentibubbler? This episode doesn't seem to be really significant, it's more like another one fan service for Alya stans. The previous ones were actually important, this one could be missed without much a loss for the plot. The only reason it could be seen as significant is to make Marinette letting her guard down even more. But isn't she extremely careless already? After revealing her identity, she immediately started to tell Alya all the Guardian secrets, gave her a code for the Miracle Box, as well as the Miraculous permanently, despite her identity being exposed and all the wrong things she has done. Marinette is already dealing completely reckless with Alya, there's no reason to make her even more. Besides, that dream can't be a prophetic one, right? I remember that adult Bunnix really believed that exposing Ladybug's identity is something what Alya is able to do (from her time at least), but I think it's impossible to happen in real. That's why I see this episode as the most "fillerish" from all of this's season those have been released till now. Other ones introduced new characters or Miraculous wielders at least, nothing really new and crucial happened in this one. There's nothing bad in fillers, but why another Alya-centric one? Why not focusing on a character who hasn't been favoured this season instead?

The most stupid thing in this episode is that Rena Rouge made an illusion in which Ladybug says that she won't give the Miraculous to her anymore, for two reasons. One is that Gabriel bought that very weak lie without questioning it at all. It's clearly a plot armor. I know that they tend to make Gabriel very dumb when they need it from the beginning, but it's extremely stupid even to him. Hey, Gabriel, you know Rena Rouge's identity for some time now and Ladybug has been already giving Rena the fox few times before after her identity being exposed. Why that sudden decision? Isn't it suspect? Second is that it's been portrayed as a clever thing, while it makes Alya unable to be Rena Rouge anymore, if they don't want to show to Shadow Moth that was a lie. I'm not talking only about the battles, Rena can't be seen in public, since Ladyblog is not the only place which is showing content about the heroes. So then there's no reason for Alya to keep the fox anymore. Unless I interpret it wrong, and Marinette doesn't think it would make Gabriel stop going after Alya. But to me it looked like that and that's also make Marinette dumb anyway, because she is still unable of seeing how dangerous it is for her best friend. Alya's plan worked once, but it doesn't mean it would work again, once he discovers the lie, it would make him even more suspicious of a bond between Rena Rouge and Ladybug. Marinette is risking not only safety of Paris and the whole world, but also safety of her best friend. Why everyone is able to see that obvious thing, not only the girls but also all of the Kwamis? I'm not going to change my opinion that they are dumbing down all the characters who are involved in it and that's just bad and lazy writing.

And where's Su-Han when he's needed. I've been working on the English subtitles for the French dubbing of Furious Fu recently and now I remember that he said that he's going to observe Marinette and take the box from her is she makes a slight mistake. She's keeping making bad decisions, but he still isn't showing. That was a lie? Because if he doesn't see anything wrong in how's Marinette is dealing with her guardian duty, I'm gonna to lose the rest of my faith in the writers.

--------

I'm so sorry. I wanted to be active on Tumblr at least a bit after seeing this episode, but I still don't feel motivated. It's painful to say that season 4 is mostly a disappointment to me, especially that I hate the biggest story arc of it.

[star-crossed-shipper]

Ok so I'd just like to post my thoughts about the latest video, if anyone wants to hear.

First off, let's start with Logan talking to Remus as him having an important role in the group.

I didn't get why he would say intrusive thoughts are important, but like. The whole episode, Remus was basically making Thomas take a break. He was showing how Thomas was very much not okay. And that may not have been his motive, i think he was trying to piss Logan off, to make him break. He was trying to get attention. I don't mean this in an, i hate remus as a character way, but that's what intrusive thoughts do. They make you ignore your logic and cause cognitive distortions. I feel like it would've been useful to have Virgil there to help demonstrate that even better. Idk, just a thought. Ofc as a show, they just had a whole episode with Virgil and Roman, so they didnt wanna put him in this ep too much, but it really felt like he should've been there.

Next up, Logan's "orange eyes" moment. Now, i feel like it would be completely out of character and not a great plot if Logan became the orange side, but I do feel like the orange side is gonna show up, they're just making their introduction through Logan. Like how remus made it through roman and janus made it through patton, all in their own way. I do feel like my boi logan deserves vindication for being so ignored, but I don't think he's gonna get it through becoming "a dark side". I don't think he's gonna break. Ofc, i might be wrong and y'all can have your own theories, but I just don't think it fits with how I view Logan.

Last, and this is just something my analogical heart noticed, but it seems to be fairly consistent. Virgil never makes a jab at Logan or trivializes his pain of being ignored, even when both Patton and Roman are very obviously doing it in the end card. And yeah, I do agree that Thomas going on that date was good for him, but I do feel Logan's hurt should've been addressed by the other sides too. But,,, Virgil has tried his best not to add to the pain the other sides give Logan I think. He's tended to listen, and try his best to take heed of Logan's words. Especially considering, as anxiety, he often needs logic the most.

Overall, this episode was great, and thomas really threw the asides not being plot relevant out the window, but thats fine. I loved seeing some orange eyes Logan, but I do feel that needs to be addressed before it escalates (which we all know, Remus will try his best to escalate it. I think it's also because he knows Logan's the one who can deal with Thomas having intrusive thoughts the best.)

Also, I do feel like (outside of my analogical agenda) Logan and Virgil need to have a talk. As Logic and Anxiety, they seem to be at their heights rn, and they need to address all these issues rising up, but we've barely seen them interact at all, despite there being seemingly no bad blood between them, even as all the other sides have started fighting or taking sides of their own with the SvSr stuff.

I think the plots are all coming to a peak, and if we take the asides pattern, it's been virgil and roman, logan and remus, so the final has gotta be janus and patton, right?